#: locale=en
## Action
### URL
WebFrame_936728A9_8C7C_EADA_41D6_32F20394748B.url = https://www.epmacc.org/Dia-de-los-Muertos-2025
WebFrame_936728A9_8C7C_EADA_41D6_32F20394748B_mobile.url = https://www.epmacc.org/Dia-de-los-Muertos-2025
WebFrame_93557145_8C7C_FA4A_41CD_28D299BA51EC_mobile.url = https://www.epmacc.org/artist-in-residence
WebFrame_93557145_8C7C_FA4A_41CD_28D299BA51EC.url = https://www.epmacc.org/artist-in-residence
WebFrame_935EC9E4_8C7C_AA4B_41D9_DD23ED050878.url = https://www.epmacc.org/classes-workshops
WebFrame_935EC9E4_8C7C_AA4B_41D9_DD23ED050878_mobile.url = https://www.epmacc.org/classes-workshops
WebFrame_93872D6D_8C63_AA5A_41B7_F4EA4CC1A42E.url = https://www.epmacc.org/featured-exhibits
WebFrame_93872D6D_8C63_AA5A_41B7_F4EA4CC1A42E_mobile.url = https://www.epmacc.org/featured-exhibits
WebFrame_48096F5A_5B4E_E8C9_41D2_C85A74D11DE8.url = https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d1555.409592087698!2d-106.49141515135207!3d31.76033005304004!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x86e7592b2628bacf%3A0xc9d86e6d9e0b726f!2sEl%20Paso%20Mexican%20American%20Cultural%20Center!5e0!3m2!1sen!2sus!4v1745289537380!5m2!1sen!2sus
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WebFrame_2C32AE8D_0329_D1D8_417C_EE3DD44DDC4C.url = //www.youtube.com/embed/F5Kii5wUtPI
WebFrame_265A5909_0328_B0DB_413A_6CD26E07A6D8.url = //www.youtube.com/embed/F5Kii5wUtPI
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### Audio
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### Audio Subtitles
### Floorplan
### Image
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### Subtitle
panorama_6C17031D_7F63_38C5_41C4_B26663CE1331.subtitle = ESPACIO DE CREACION I
panorama_9EC25E6A_2C8B_81CD_41B9_71CF0931CB2A.subtitle = ESPACIO DE CREACION II
panorama_8D7FE014_2394_8144_41C1_249A472529F0.subtitle = Entrance / Exit
panorama_F2CD5824_2C8B_8144_41A7_07BB1397CC0C.subtitle = MACC_F1_02
panorama_7A3EAA8F_2494_8D24_41B7_EA471FBD7ABC.subtitle = MACC_F1_03_LR
panorama_6E6C080B_7DC4_7BFF_41DD_76F4CCD4CFC2.subtitle = MACC_F1_06_LR
panorama_6E0FD832_7DCC_1C29_41D8_E8203F2790B0.subtitle = MACC_F1_07_LR
panorama_6E7B5A10_7DCC_3FEA_41C6_A67A3412A591.subtitle = MACC_F1_08_LR
panorama_6E708DF6_7DCC_1429_41D7_B1202F5F5468.subtitle = MACC_F1_09_LR
panorama_6E1A61E3_7DCC_2C2F_41DF_6A039914194E.subtitle = MACC_F1_10_LR
panorama_6E62B0EC_7DCD_EC39_41D1_14F2C589588B.subtitle = MACC_F1_11_LR
panorama_6E04DDCB_7DCC_147F_41D2_99D8B5EAC8A5.subtitle = MACC_F1_12_LR_PS
panorama_6E648B3D_7DCC_3C1B_41DD_A0AC6A8F8C56.subtitle = MACC_F1_13_LR_PS
panorama_B5D72059_A113_7EBE_41D6_4DCC14971A58.subtitle = MACC_GALM_03_LR
panorama_B7359155_A110_DEB6_41E3_7C39A6A225E1.subtitle = MACC_GALM_04_LR
panorama_B5DB167F_A110_C372_41C0_E126A4C7D609.subtitle = MACC_GALM_05_LR
### Title
photo_D7BCA8C9_1776_2D0A_419C_0E23FBAF5524.label = 36+MXS
photo_D7BCA8C9_1776_2D0A_419C_0E23FBAF5524.label = 36+MXS
photo_D7BC7DBE_1776_2706_416E_421EB2A274C2.label = 6+MXS
photo_D7BC7DBE_1776_2706_416E_421EB2A274C2.label = 6+MXS
photo_BF07DB5B_DDEE_991F_41D5_D4FBFBF22AFB.label = ACO_01
photo_BF07DB5B_DDEE_991F_41D5_D4FBFBF22AFB.label = ACO_01
photo_80593F37_DDEE_9928_41E6_7CDFE81708AF.label = ACO_02
photo_80593F37_DDEE_9928_41E6_7CDFE81708AF.label = ACO_02
photo_803E72F1_DDEE_8B2B_41A8_A7ABCCD8AE06.label = ACO_03
photo_803E72F1_DDEE_8B2B_41A8_A7ABCCD8AE06.label = ACO_03
photo_803E06A5_DDEE_8B2B_41B4_0E39BEC59FE3.label = ACO_04
photo_803E06A5_DDEE_8B2B_41B4_0E39BEC59FE3.label = ACO_04
panorama_6E2734C4_7DDC_146A_41BC_2607EDE8547C.label = AUD: Control Room
panorama_6E3ABF04_7DDC_15E9_41D9_1D667FFF60B7.label = AUD: East
panorama_6E2EEAAF_7DDC_3C37_41C0_30CC98A35EF0.label = AUD: Exit I
panorama_6E387759_7DDC_141B_41CA_FDF46F6B82AA.label = AUD: Exit II
panorama_6E37B435_7DDD_F42B_41C3_DEC5F3AFD86A.label = AUD: North
panorama_3E77F3DD_7FA3_7F45_41A8_864A592DD838.label = AUD: Stage
panorama_6E3C9FCB_7DDC_747F_41C9_36A708CDF551.label = AUD: West
panorama_055B70F7_1C94_B743_41B4_6EC8D2DCD33F.label = Abel Saucedo
video_31CF6405_41BD_0407_41D2_1F0F2531C6A0.label = Artist
panorama_6C10A398_7F62_FFCB_41D3_F3388CBEFFBC.label = Artist-in-Residence
photo_5F152A0C_1CBD_8AC5_41A4_22CCB2A9225B.label = Aud_01_LG
photo_5F152A0C_1CBD_8AC5_41A4_22CCB2A9225B.label = Aud_01_LG
album_C2704F93_D9F8_8DE4_41B7_AEF7C3A3DC35_1.label = Aud_02_LG
album_C2704F93_D9F8_8DE4_41B7_AEF7C3A3DC35.label = Auditorium
panorama_4FB89705_62E5_C887_41D8_750609D0513A.label = Black Box Theater
album_C36CD45D_D9F8_731C_41E8_E0AA85305ADC.label = BlackBox
photo_5F121BF0_1CBC_895D_4187_69C302A8E4EF.label = Blck_01_LG
photo_5F121BF0_1CBC_895D_4187_69C302A8E4EF.label = Blck_01_LG
photo_5E762FF1_1CBC_895F_41B3_41280A44EF19.label = Blck_02_LG
photo_5E762FF1_1CBC_895F_41B3_41280A44EF19.label = Blck_02_LG
photo_5E769402_1CBC_7EBD_41BC_5CFA5AA25CEA.label = Blck_03_LG
photo_5E769402_1CBC_7EBD_41BC_5CFA5AA25CEA.label = Blck_03_LG
photo_5E696849_1CBC_774F_41BC_8407EAD19E91.label = Blck_04_LG
photo_5E696849_1CBC_774F_41BC_8407EAD19E91.label = Blck_04_LG
panorama_B64FA26C_A111_C295_41D9_C60527547CE9.label = Celia Muñoz
video_31F3E999_41BD_0C0F_41AA_1AF30D0DEBB9.label = Classes
panorama_69AF9A16_7DDC_3FE9_4173_CA9E04B6494A.label = Commercial Kitchen I
panorama_698FDFDE_7DDC_1419_4196_8461B37ABEF1.label = Commercial Kitchen II
panorama_F20CB952_C55C_0135_41E6_46577F12F40F.label = Community Gallery
photo_9426E9A1_88C7_699F_41DF_634645825ABE.label = Comparison-chart-sketch-large-1141686887
photo_9426E9A1_88C7_699F_41DF_634645825ABE.label = Comparison-chart-sketch-large-1141686887
panorama_B5AAA2E4_A113_C396_41E2_0D767421510B.label = Corral / Gandara
video_31CB1173_41BD_1C1C_41C8_6C92B9D6B737.label = DDLM
album_C37BDD39_D9FB_8D24_41C0_6EFE76120F7D.label = DDLM
photo_5847BC11_1CBF_8EDF_41B5_59A6D38C2D4D.label = DDLM_2024_01_LG
photo_5847BC11_1CBF_8EDF_41B5_59A6D38C2D4D.label = DDLM_2024_01_LG
photo_5E74DF70_1CBF_895D_41B0_84B56368690A.label = DDLM_2024_02_LG
photo_5E74DF70_1CBF_895D_41B0_84B56368690A.label = DDLM_2024_02_LG
photo_5E76E2CD_1CBC_7B46_41AE_D885849B0324.label = DDLM_2024_03_LG
photo_5E76E2CD_1CBC_7B46_41AE_D885849B0324.label = DDLM_2024_03_LG
photo_5E76B60F_1CBC_7AC3_41B4_D4E5BC6A019C.label = DDLM_2024_04_LG
photo_5E76B60F_1CBC_7AC3_41B4_D4E5BC6A019C.label = DDLM_2024_04_LG
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### Video
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### Video Subtitles
## Skin
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Button_519B9ECD_626F_B987_41D2_8CA2DD85D7DE.label = FLOOR 1
Button_519B9ECD_626F_B987_41D2_8CA2DD85D7DE_mobile.label = FLOOR 1
Button_55D20010_626D_C89D_41A8_43ED7B64606A.label = FLOOR 2
Button_55D20010_626D_C89D_41A8_43ED7B64606A_mobile.label = FLOOR 2
Button_55EF5B6D_626D_B887_41BE_462EECDA6088.label = FLOOR 3
Button_55EF5B6D_626D_B887_41BE_462EECDA6088_mobile.label = FLOOR 3
Button_5F0A76AE_6FF0_A37D_4192_70E11471DA78.label = Floor Plan
Button_45F742E9_50C2_E405_41AF_A59253F28443.label = Floor Plan
Button_5324A4BD_72C1_8D1E_41C1_2C190D44B25A.label = Foundations
Button_50E06220_72C6_8526_41DB_2AB3E56E4377.label = Foundations
Button_532324B7_72C1_8D2A_41D4_095CFDE9ACDC.label = Foundations
Button_50CD9FD0_72C6_BB67_41D7_07BB45A25F2E.label = Foundations
Button_5320D4AE_72C1_8D3B_41C1_C7AA6D407936.label = Foundations
Button_532634C5_72C1_8D6E_419A_D6C840CE9098.label = Foundations
Button_45FC72DB_50C2_E405_41C0_E25A23E98172.label = Foundations
Button_CBEC3C8C_8CEC_EADB_41CB_010E48C91182.label = Foundations
Button_45FCE2DF_50C2_E43D_41D1_6277F18E1BF5.label = Foundations
Button_CA946256_8CE4_5E77_41D7_B0F8552B00CD.label = Foundations
Button_4114F7C2_72C1_8B6A_41CF_BE8F3A685C10.label = Foundations
Button_46E9B7C5_72C1_8B6E_41DA_B572E45CE317.label = Foundations
Button_45FD92DC_50C2_E403_41D4_2C7E3F69E2B6.label = Foundations
Button_45FC02DC_50C2_E403_41D0_1079E673773D.label = Foundations
Button_45FD62DC_50C2_E403_41C6_6AD5F5E28F77.label = Foundations
Button_45FD32DC_50C2_E403_41C9_8F884D879CC7.label = Foundations
Button_45FCD2DB_50C2_E405_41B3_979DA6DBBBE7.label = Foundations
Button_C91F127E_8CAC_7E36_41E0_AB748D5AFA76.label = Foundations
Button_45FDB2DE_50C2_E43F_41B2_53A7872ADD4C.label = Foundations
Button_35736C41_C82A_3AFB_41E7_7805693636F1.label = Foundations
Button_470201FD_72C1_871E_41CC_3D2339380B6A.label = Foundations
Button_45FD82DB_50C2_E405_41C9_F74036D648E0.label = Foundations
Button_5309851E_72C6_8F1A_4143_7A49FC2921E2.label = Foundations
Button_532634C5_72C1_8D6E_419A_D6C840CE9098_mobile.label = Foundations
Button_45FD82DB_50C2_E405_41C9_F74036D648E0_mobile.label = Foundations
Button_C91F127E_8CAC_7E36_41E0_AB748D5AFA76_mobile.label = Foundations
Button_45FC72DB_50C2_E405_41C0_E25A23E98172_mobile.label = Foundations
Button_45FCD2DB_50C2_E405_41B3_979DA6DBBBE7_mobile.label = Foundations
Button_45FD32DC_50C2_E403_41C9_8F884D879CC7_mobile.label = Foundations
Button_45FD92DC_50C2_E403_41D4_2C7E3F69E2B6_mobile.label = Foundations
Button_45FC02DC_50C2_E403_41D0_1079E673773D_mobile.label = Foundations
Button_45FD62DC_50C2_E403_41C6_6AD5F5E28F77_mobile.label = Foundations
Button_CBEC3C8C_8CEC_EADB_41CB_010E48C91182_mobile.label = Foundations
Button_5320D4AE_72C1_8D3B_41C1_C7AA6D407936_mobile.label = Foundations
Button_532324B7_72C1_8D2A_41D4_095CFDE9ACDC_mobile.label = Foundations
Button_5324A4BD_72C1_8D1E_41C1_2C190D44B25A_mobile.label = Foundations
Button_5F0F46A3_6FF0_A36B_41C9_DC3C8A89804A.label = Foundations
Button_50E06220_72C6_8526_41DB_2AB3E56E4377_mobile.label = Foundations
Button_50CD9FD0_72C6_BB67_41D7_07BB45A25F2E_mobile.label = Foundations
Button_5309851E_72C6_8F1A_4143_7A49FC2921E2_mobile.label = Foundations
Button_45FDB2DE_50C2_E43F_41B2_53A7872ADD4C_mobile.label = Foundations
Button_35736C41_C82A_3AFB_41E7_7805693636F1_mobile.label = Foundations
Button_470201FD_72C1_871E_41CC_3D2339380B6A_mobile.label = Foundations
Button_45FCE2DF_50C2_E43D_41D1_6277F18E1BF5_mobile.label = Foundations
Button_CA946256_8CE4_5E77_41D7_B0F8552B00CD_mobile.label = Foundations
Button_4114F7C2_72C1_8B6A_41CF_BE8F3A685C10_mobile.label = Foundations
Button_46E9B7C5_72C1_8B6E_41DA_B572E45CE317_mobile.label = Foundations
Button_5F341691_6FF0_A327_41C4_FCBCC82038E7.label = Foundations
Button_5F0E769F_6FF0_A35B_41C7_BD37D1FE32AE.label = Foundations
Button_5F0EE6A0_6FF0_A365_41BC_1AF40123F6BE.label = Foundations
Button_5F0F16A0_6FF0_A365_41D9_3A895E0BE359.label = Foundations
Button_5F0F86A0_6FF0_A365_41CB_833CF0FAC260.label = Foundations
Button_5F0E56A1_6FF0_A367_41A7_6AE069AF4D49.label = Foundations
Button_5F0ED6A1_6FF0_A367_41C4_4B34B93F993E.label = Foundations
Button_5F31C6A1_6FF0_A367_41B6_827E8CCFF926.label = Foundations
Button_5F0E66A1_6FF0_A367_41C5_7CB4E25EEE4F.label = Foundations
Button_5F0E96A1_6FF0_A367_415A_61083E77FBDE.label = Foundations
Button_5F0F36A2_6FF0_A365_41A4_4531E042EEF2.label = Foundations
Button_5F0F86A2_6FF0_A365_41BB_3AED83FAD2AE.label = Foundations
Button_5F0C36A2_6FF0_A365_41CA_B54C48F1B3BE.label = Foundations
Button_5F0F26A3_6FF0_A36B_41CB_083F8C4150D6.label = Foundations
Button_5F0C66A6_6FF0_A36D_41B9_ABCFEA60EB06.label = Foundations
Button_5F0E76A3_6FF0_A36B_41B5_7590D9C3A525.label = Foundations
Button_5F0EF6A3_6FF0_A36B_41A4_4E0E0CBEFC29.label = Foundations
Button_5F0F76A3_6FF0_A36B_41D0_F37DD6626965.label = Foundations
Button_5F0FE6A4_6FF0_A36D_41AC_6778705565FF.label = Foundations
Button_5F0C16A4_6FF0_A36D_41C4_9F39A09B3FF7.label = Foundations
Button_5F0CB6A4_6FF0_A36D_41D6_3E67F85FB31E.label = Foundations
Button_5F0FA6A4_6FF0_A36D_41B6_F77EE9295AF8.label = Foundations
Button_5F0FC6A5_6FF0_A36F_41D9_13AB2A1BFF54.label = Foundations
Button_5F0EE6A5_6FF0_A36F_41CE_3653E6E221AB.label = Foundations
Button_5F0F66A5_6FF0_A36F_41A6_24B2587DC790.label = Foundations
Button_5F0F96A5_6FF0_A36F_4188_A5DFDC8AE5B1.label = Foundations
Button_5F0C26A6_6FF0_A36D_41DB_8793B02450B5.label = Foundations
Button_5F0C96A6_6FF0_A36D_41D7_289ADA4FA272.label = Foundations
Button_5F0D06A6_6FF0_A36D_41A9_E3A7BAB01FA9.label = Foundations
Button_45F702E9_50C2_E405_41CA_63FEB98D2DC9.label = Help
Button_DD13FEB2_E96F_2A29_41C4_2AC9F572344C.label = Help
Button_45F992EA_50C2_E407_41D3_6C14503DE72A.label = Info
Button_5F0AB6AE_6FF0_A37D_41C3_F904D9286D4F.label = Info
Button_5F0AA6AE_6FF0_A37D_419F_5AFDA8D3CE4A.label = Location
Button_45F772E9_50C2_E405_41B2_9442CC5C3638.label = Location
Button_5F0A66AE_6FF0_A37D_41D4_193F404AECAF.label = Panoramas
Button_45F8B2E9_50C2_E405_41C8_D80793D0C708.label = Panoramas
Button_45F982EA_50C2_E407_41AC_B679614F1298.label = Settings/ Share
Button_5F0A86AE_6FF0_A37D_41B7_7CE144751EBA.label = Settings/ Share
### Image
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Teaching Kitchen
MACC's Teaching Kitchen will provide an opportunity for visitors and students to actively engage with the culinary heritage and contemporary cuisine of the Border region. The MACC will work with local cooks, chefs, bakers and culture bearers to present a variety of programming. Programming will cover a range of topics and food traditions for audiences beginning at 10 years and up.
The Teaching Kitchen is available to rent for private classes.
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HTMLText_66392A9E_52FE_4F0C_417B_F1B7DA1DC217.html = ¡ Es Hora!
¡It’s Time!: Mexican American Art in
El Paso 1960 – Now
¡Es Hora! is the MACC’s inaugural exhibition that has been years in the making, with works and ideas tracing back to the Chicano Movement in the 1960’s. Artists, Culture-bearers, Community members and Activists, came together to demand equity, respect, representation, and inclusion in American politics, academia, economy and the arts which have historically minimized the Chicano/Mexican American voice. The MACC is a culmination of years of dreaming, advocacy and organizing to create a permanent space for these stories and voices to be celebrated and recognized.
Mexican Americans or Chicanos have constituted the majority of El Paso’s population since the twentieth century.10 According to current data, the population of El Paso is 82.9% Hispanic. 2 El Paso is short for El Paso del Norte , a region where many have passed through on their journeys – though many have stayed, making this place home.
The MACC will be the first municipal institution dedicated to the presentation and exhibition of Mexican American arts and culture. El Paso is an area embedded with Mexican (American) cultural history and tradition, yet often these vital stories have struggled for representation in our local institutions. Groundbreaking work by sister institutions, artists and culture bearers at the grassroots level and beyond have laid the foundation for the MACC to open its doors to the public.
¡Es Hora! features 18 artists and over 40 works created between 1960 to 2024 from Mexican American artists with deep roots in the El Paso region. The exhibit includes traditional and contemporary mediums such as painting, printmaking, sculpture, photography, and mixed media.
Each of these artists have lived and worked in this region and been influenced by its social, political, and cultural fabric - El rio, y desierto, the wall and the bridge: both natural and human made characteristics are the dramatic backdrop to this lived experience.
¡Es Hora! showcases the diverse artistic talent El Paso has to offer with a focus on Mexican American artists. The exhibition spotlights pioneers who left a distinct mark, and features currently established, and emerging artists who are forging new paths for the future.
¡Es Hora! unearths obscured histories and lore to share and (re)interpret them with new generations. This is not a complete survey that encompasses all the artists within this region. Rather, this a first step towards centering the contributions of Mexican American artists in shaping and transforming oral histories and raw emotions into compelling visual narratives that inform and inspire our transnational and bilingual way of life.
¡Es Hora! is generously supported by The City of El Paso, El Paso Community Foundation, UTEP Special Collections, Gaspar Enriquez, El Paso Museum of Art, The Whittliff Collection, Robert Belk and Margaret Amada, Pierre Hernandez, Company Gallery, Roberto Diaz Perez, Jack and Carrol Maxon, and participating artists.
..........................................................
¡Es hora!
It’s Time!: Arte mexicano-americano
en El Paso 1960 – Ahora
¡Es Hora! es la exposición inaugural del MACC, que ha estado gestándose durante años, con obras e ideas que se remontan al Movimiento Chicano de la década de 1960. Artistas, portadores de cultura, miembros de la comunidad y activistas se unieron para exigir equidad, respeto, representación e inclusión en la política, la academia, la economía y las artes estadounidenses, que históricamente han minimizado la voz chicana/mexicoamericana. El MACC es la culminación de años de soñar, abogar y organizarse para crear un espacio permanente para que estas historias y voces sean celebradas y reconocidas.
Los mexicoamericanos o chicanos han constituido la mayoría de la población de El Paso desde el siglo XX.1 Según datos actuales, el 82.9% de la población de El Paso es hispana. 2 El Paso es la abreviatura de El Paso del Norte, una región por la que muchos han pasado en sus viajes, aunque muchos se han quedado, haciendo de este lugar su hogar.
El MACC será la primera institución municipal dedicada a la presentación y exhibición de las artes y la cultura mexicoamericana. El Paso es un área llena de historia y tradición cultural mexicana (estadounidense), pero a menudo estas historias han enfrentado dificultades para obtener representación en nuestras instituciones locales. El trabajo pionero de instituciones hermanas, artistas y promotores culturales, tanto a nivel comunitario como en otros ámbitos, ha sentado las bases para la apertura del MACC al público.
¡Es hora! cuenta con 18 artistas y más de 40 obras creadas entre 1960 y 2024 por artistas mexicoamericanos con profundas raíces en la región de El Paso. La exposición incluye medios tradicionales y contemporáneos como la pintura, el grabado, la escultura, la fotografía y los medios mixtos. Cada uno de estos artistas ha vivido y trabajado en esta región y ha sido influenciado por su tejido social, político y cultural: El río y el desierto, el muro y el puente: tanto las características naturales como las creadas por el ser humano enmarcan esta experiencia.
¡Es hora! muestra el diverso talento artístico que El Paso tiene para ofrecer, con un enfoque en los artistas mexicoamericanos. La exposición destaca a los pioneros que dejaron una huella distintiva, y presenta a artistas actualmente establecidos, al igual que artistas emergentes que están forjando nuevos caminos.
¡Es hora! desentierra historias y tradiciones oscurecidas para compartirlas y (re)interpretarlas con las nuevas generaciones. Esta no es una muestra completa que incluya a todos los artistas de esta región. Más bien, este es un primer paso para centrar las contribuciones de los artistas mexicoamericanos en dar forma y transformar las historias orales y las emociones viscerales en narrativas visuales convincentes que moldean e inspiran nuestro estilo de vida transnacional y bilingüe.
¡Es hora! cuenta con el generoso apoyo de la Ciudad de El Paso, el Museo de Arte de El Paso, la Colección Wittliff, Gaspar Enríquez, UTEP Special Collections, El Paso Community Foundation, UTEP, Robert Belk y Margaret Amada, Pierre Hernández, Roberto Diaz Perez, Jack and Carrol Maxon, Company Gallery y los artistas participantes.
HTMLText_E12D6B61_C7EA_5EBB_41DC_7B10072FA451.html = ¡ Es Hora!
¡It’s Time!: Mexican American Art
in El Paso 1960 – Now
¡Es Hora! is the MACC’s inaugural exhibition that has been years in the making, with works and ideas tracing back to the Chicano Movement in the 1960’s. Artists, Culture-bearers, Community members and Activists, came together to demand equity, respect, representation, and inclusion in American politics, academia, economy and the arts which have historically minimized the Chicano/Mexican American voice. The MACC is a culmination of years of dreaming, advocacy and organizing to create a permanent space for these stories and voices to be celebrated and recognized.
Mexican Americans or Chicanos have constituted the majority of El Paso’s population since the twentieth century.10 According to current data, the population of El Paso is 82.9% Hispanic. 2 El Paso is short for El Paso del Norte , a region where many have passed through on their journeys – though many have stayed, making this place home.
The MACC will be the first municipal institution dedicated to the presentation and exhibition of Mexican American arts and culture. El Paso is an area embedded with Mexican (American) cultural history and tradition, yet often these vital stories have struggled for representation in our local institutions. Groundbreaking work by sister institutions, artists and culture bearers at the grassroots level and beyond have laid the foundation for the MACC to open its doors to the public.
¡Es Hora! features 18 artists and over 40 works created between 1960 to 2024 from Mexican American artists with deep roots in the El Paso region. The exhibit includes traditional and contemporary mediums such as painting, printmaking, sculpture, photography, and mixed media.
Each of these artists have lived and worked in this region and been influenced by its social, political, and cultural fabric - El rio, y desierto, the wall and the bridge: both natural and human made characteristics are the dramatic backdrop to this lived experience.
¡Es Hora! showcases the diverse artistic talent El Paso has to offer with a focus on Mexican American artists. The exhibition spotlights pioneers who left a distinct mark, and features currently established, and emerging artists who are forging new paths for the future.
¡Es Hora! unearths obscured histories and lore to share and (re)interpret them with new generations. This is not a complete survey that encompasses all the artists within this region. Rather, this a first step towards centering the contributions of Mexican American artists in shaping and transforming oral histories and raw emotions into compelling visual narratives that inform and inspire our transnational and bilingual way of life.
¡Es Hora! is generously supported by The City of El Paso, El Paso Community Foundation, UTEP Special Collections, Gaspar Enriquez, El Paso Museum of Art, The Whittliff Collection, Robert Belk and Margaret Amada, Pierre Hernandez, Company Gallery, Roberto Diaz Perez, Jack and Carrol Maxon, and participating artists.
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¡Es hora!
It’s Time!: Arte
mexicano-americano
en El Paso 1960 – Ahora
¡Es Hora! es la exposición inaugural del MACC, que ha estado gestándose durante años, con obras e ideas que se remontan al Movimiento Chicano de la década de 1960. Artistas, portadores de cultura, miembros de la comunidad y activistas se unieron para exigir equidad, respeto, representación e inclusión en la política, la academia, la economía y las artes estadounidenses, que históricamente han minimizado la voz chicana/mexicoamericana. El MACC es la culminación de años de soñar, abogar y organizarse para crear un espacio permanente para que estas historias y voces sean celebradas y reconocidas.
Los mexicoamericanos o chicanos han constituido la mayoría de la población de El Paso desde el siglo XX.1 Según datos actuales, el 82.9% de la población de El Paso es hispana. 2 El Paso es la abreviatura de El Paso del Norte, una región por la que muchos han pasado en sus viajes, aunque muchos se han quedado, haciendo de este lugar su hogar.
El MACC será la primera institución municipal dedicada a la presentación y exhibición de las artes y la cultura mexicoamericana. El Paso es un área llena de historia y tradición cultural mexicana (estadounidense), pero a menudo estas historias han enfrentado dificultades para obtener representación en nuestras instituciones locales. El trabajo pionero de instituciones hermanas, artistas y promotores culturales, tanto a nivel comunitario como en otros ámbitos, ha sentado las bases para la apertura del MACC al público.
¡Es hora! cuenta con 18 artistas y más de 40 obras creadas entre 1960 y 2024 por artistas mexicoamericanos con profundas raíces en la región de El Paso. La exposición incluye medios tradicionales y contemporáneos como la pintura, el grabado, la escultura, la fotografía y los medios mixtos. Cada uno de estos artistas ha vivido y trabajado en esta región y ha sido influenciado por su tejido social, político y cultural: El río y el desierto, el muro y el puente: tanto las características naturales como las creadas por el ser humano enmarcan esta experiencia.
¡Es hora! muestra el diverso talento artístico que El Paso tiene para ofrecer, con un enfoque en los artistas mexicoamericanos. La exposición destaca a los pioneros que dejaron una huella distintiva, y presenta a artistas actualmente establecidos, al igual que artistas emergentes que están forjando nuevos caminos.
¡Es hora! desentierra historias y tradiciones oscurecidas para compartirlas y (re)interpretarlas con las nuevas generaciones. Esta no es una muestra completa que incluya a todos los artistas de esta región. Más bien, este es un primer paso para centrar las contribuciones de los artistas mexicoamericanos en dar forma y transformar las historias orales y las emociones viscerales en narrativas visuales convincentes que moldean e inspiran nuestro estilo de vida transnacional y bilingüe.
¡Es hora! cuenta con el generoso apoyo de la Ciudad de El Paso, el Museo de Arte de El Paso, la Colección Wittliff, Gaspar Enríquez, UTEP Special Collections, El Paso Community Foundation, UTEP, Robert Belk y Margaret Amada, Pierre Hernández, Roberto Diaz Perez, Jack and Carrol Maxon, Company Gallery y los artistas participantes.
HTMLText_92386162_8C64_BA4F_41AE_045A3637801F.html = MEXICAN AMERICAN
CULTURAL CENTER
Mission
The mission of the El Paso Mexican American Cultural Center is to celebrate the dynamic traditions and resiliency of our border cultures through vibrant arts experiences and creative engagement.
History
The Mexican American Cultural Center is a cultural institution housed under the Museum and Cultural Affairs Department’s umbrella. In 2012, El Paso voters approved a Quality of Life Bond program, which included the Mexican American Cultural Center (MACC) as one of its signature projects. The MACC provides residents and visitors with a dynamic space for the creation, exhibition and celebration of Mexican American art and culture.
Land Acknowledgment
The MACC is located on Indigenous lands. As the MACC Staff works to celebrate and honor El Paso’s Mexican American Cultural Heritage, it is important and central to our work to recognize all Indigenous people of this region whose stories are part of our collective history: Lipan Apache, Mescalero Apache, Chiricahua Apache, Piro, Manso, Suma, Jumano, Ysleta del Sur Pueblo, Piro/Manso Tiwa Indian Tribe of the Pueblo of San Juan de Guadalupe, Rarámuri, and Tortugas Pueblo.
The MACC recognizes the nations and stories of the peoples whose territories include present day Texas including the Carrizo and Comecrudo, Coahuiltecan, Caddo, Kickapoo and the peoples of Chihuahua and northern Mexico of which many members of our community descend.
As a cultural institution, the MACC strives to be a steward of this cultural space and honors the stories, traditions and cultures of the peoples of the land we inhabit. The MACC hopes to nurture an understanding of our living, shared histories and traditions in our observation, presentation and celebration of Mexican American Cultural Heritage.
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Digital Media Studio
The Media Arts and Maker Space Classroom is a flexible education space for 3-D project activities. Students can use a variety of 3-D digital technologies, and will primarily create 3-D objects of all types. The space is designated for the creation of a variety of sculptures, everyday objects or 3-D architectural or engineering models.
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Black Box Theatre
The Black Box Theatre is the first of its kind within the City of El Paso’s facilities. The space is 2,754 square feet and can be utilized to host a variety of performances, events and meetings.
Amenities
• Microphones
• Projector & Screen
• AV Control Room
• Coat Room
• Green Room
Audience Capacity: 180
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Commercial Kitchen
The Black Box Theatre is the first of its kind within the City of El Paso’s facilities. The space is 2,754 square feet and can be utilized to host a variety of performances, events and meetings.
Amenities
• Double Door Freezer and Refrigerators
• Three Compartment Sink
• Ice Machine
• Heated Holding and Proofing Cabinet
• 36” countertop Charbroiler with cast iron radiants
• Gas Modular Countertop Ranges
• Refrigerated Chef Base
• Low Profile, Gas, Convection Oven
• Gas, Standalone Fryer
• iCombi Pro 6-full size E/G
• Prep Tables
• Commercial Grade Pots, Pans
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Dance &
Acting Studio
The dance and acting studio is a space where community members can come and learn a new style of dance, rehearse improv, or prep choreography for a musical performance to be held in our black box theatre or auditorium. With hardwood floors, wall-to-wall mirrors, and a two-level ballet barre on multiple walls, this space is great for across the floor warmups, group exercise classes, authentic folklorico choreographies, or to learn cumbia, salsa, and quebradita dance styles as a couple.
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HANDS-ON
ART STUDIO
Our art classrooms are flexible education rooms built for hands-on art activities engaging students of all ages. Our wet art classroom is meant to focus on a variety of media like crayon, charcoal, oil pastel, felt pen, as well as water-based paint on paper or canvas. A demonstration space where instructors, whether they are MACC staff or visiting teaching artists, can lead hands-on classes is also included.
Our digital art classroom is a space where students can engage in learning digital media, written word art, illustrated narratives, videography, photography, animation, and more. With a digital screen available, this space can also be used to lead meetings or other instructional experiences.
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Maker Spaces
The Media Arts and Maker Space Classroom is a flexible education space for 3-D project activities. Students can use a variety of 3-D digital technologies, and will primarily create 3-D objects of all types. The space is designated for the creation of a variety of sculptures, everyday objects or 3-D architectural or engineering models.
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Rooftop Terrace
Overlooking Cleveland Square Park, with a picturesque view of El Paso’s Downtown skyline, La Nube and The Chihuahua’s Baseball Stadium, the Rooftop Terrace is located on the third floor of the MACC.
The Terrace is an ideal location to meet old and new friends alike, in an inviting atmosphere. The Terrace is open for special MACC events including local and visiting chef pop-up experiences and rental opportunities.
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Teaching Kitchen
MACC's Teaching Kitchen will provide an opportunity for visitors and students to actively engage with the culinary heritage and contemporary cuisine of the Border region. The MACC will work with local cooks, chefs, bakers and culture bearers to present a variety of programming. Programming will cover a range of topics and food traditions for audiences beginning at 10 years and up.
The Teaching Kitchen is available to rent for private classes.
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AUDITORIUM
The Auditorium, located on the ground level of the MACC, has beautiful lighting, a sound and control room, and is served by three green room areas. The Auditorium is a great location to host conferences, performances, readings and presentations, and panels.
Amenities
• Projector & Screen
• Stage with Curtains
• 3 Green Rooms
Audience Capacity: 200 Seats
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HTMLText_8268742B_1533_E50E_4191_234C6C1D01C9.html = Recording Studio
The Recording Studio at the MACC is a space to capture the stories, songs, and viewpoints of El Paso’s Mexican American Community. The Recording Studio provides a multi-function space for podcasts, oral history recordings, and music recordings for emerging and professional artists.
Amenities
• Control Room
• Performance-Live Room
• Foyer
• Backline
• Protools
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Artist-in-Residence
Studio
The Artist-in-Residence studio is committed to providing artists of all backgrounds and mediums a designated space to experiment and create work with access to the MACCs state-of-the-art facilities and exhibition space.
Requirements:
• Open to artists 18+
• Must live in the Southwest Texas/
New Mexico/Arizona/Mexico region
• Must sign waiver, liability clause, background check.
Proposals will be chosen by MACC Curatorial Staff with community input. Selected artists will present an artist talk and lead two workshops that will open to the public and must commit to three days in the studio per week for four months.
Artist-in-Residence Orientation Session:
June 12 in the MACC Auditorium
If interested, register for the MACC Artist-in- Residence Orientation Session.
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MEXICAN AMERICAN
CULTURAL CENTER
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MEXICAN AMERICAN
CULTURAL CENTER
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_________
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MEXICAN AMERICAN
CULTURAL CENTER
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_________
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MEXICAN AMERICAN
CULTURAL CENTER
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_________
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MEXICAN AMERICAN
CULTURAL CENTER
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_________
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MEXICAN AMERICAN
CULTURAL CENTER
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_________
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MEXICAN AMERICAN
CULTURAL CENTER
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MEXICAN AMERICAN
CULTURAL CENTER
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HTMLText_A555632A_17CE_E30F_41A6_32F8EB848DBC.html = MEXICAN AMERICAN
CULTURAL CENTER
Mission
The mission of the El Paso Mexican American Cultural Center is to celebrate the dynamic traditions and resiliency of our border cultures through vibrant arts experiences and creative engagement.
History
The Mexican American Cultural Center is a cultural institution housed under the Museum and Cultural Affairs Department’s umbrella. In 2012, El Paso voters approved a Quality of Life Bond program, which included the Mexican American Cultural Center (MACC) as one of its signature projects. The MACC provides residents and visitors with a dynamic space for the creation, exhibition and celebration of Mexican American art and culture.
Land Acknowledgment
The MACC is located on Indigenous lands. As the MACC Staff works to celebrate and honor El Paso’s Mexican American Cultural Heritage, it is important and central to our work to recognize all Indigenous people of this region whose stories are part of our collective history: Lipan Apache, Mescalero Apache, Chiricahua Apache, Piro, Manso, Suma, Jumano, Ysleta del Sur Pueblo, Piro/Manso Tiwa Indian Tribe of the Pueblo of San Juan de Guadalupe, Rarámuri, and Tortugas Pueblo.
The MACC recognizes the nations and stories of the peoples whose territories include present day Texas including the Carrizo and Comecrudo, Coahuiltecan, Caddo, Kickapoo and the peoples of Chihuahua and northern Mexico of which many members of our community descend.
As a cultural institution, the MACC strives to be a steward of this cultural space and honors the stories, traditions and cultures of the peoples of the land we inhabit. The MACC hopes to nurture an understanding of our living, shared histories and traditions in our observation, presentation and celebration of Mexican American Cultural Heritage.
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HTMLText_E7454614_C7FA_5698_41DE_1F37317C2833.html = LOS COLORES
DE MI CULTURA
Maria Almeida Natividad (b. 1947, El Paso) grew up in El Paso, Texas surrounded by the rich and distinctive cultures of the region that had a great influence in her life and art. Maria’s career has encompassed many areas having been an artist, illustrator, writer, muralist and educator with a priority being to instill pride in her students regarding their heritage and culture. She works in several medias, including oil, acrylics, mixed media, colored pencil, and pen and ink. Maria is best known for her watercolor and mixed media paintings.
Natividad's work has been included in a variety of exhibitions throughout the Southwest, earning her many honors such as the induction into the El Paso Commission of Women Hall of Fame in the Arts. Her paintings are also held in various public and private collections, including those of the Hispanic Research Center at Arizona State University, El Paso Museum of Art, Mexic-Arte Museum, Austin, Tx., University of Arkansas at Little Rock Gallery, the El Paso Public Library, University of Texas at Austin, UTSA, Coronado Studios and many others.
This series of work provides an intimate insight into Maria’s personal life, blending memory and identity. Through her pieces, Natividad crafts a narrative of celebrating cultural heritage by capturing her family and the everyday lived experiences of Hispanics in El Paso, Texas along with highlighting significant historical events. Accompanied by interpretive narratives and lyrics, this exhibition invites viewers to not only reflect upon the work but to engage with them on a personal level.
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LOS COLORES
DE MI CULTURA
María Almeida Natividad (n. 1947, El Paso) creció en El Paso, Texas, rodeada de las ricas y distintivas culturas de la región que tuvieron una gran influencia en su vida y en su arte. La carrera de María ha abarcado diversas áreas, incluyendo arte, ilustración, escritura, muralismo y educación, con la prioridad de inculcar orgullo en sus estudiantes, con respecto a su herencia y cultura. Trabaja en varios medios, incluyendo óleo, acrílicos, técnicas mixtas, lápiz de color, y pluma y tinta. María es mejor conocida por sus pinturas de acuarela y técnicas mixtas.
El trabajo de Natividad ha sido parte de varias de exhibiciones en todo el suroeste, lo que le ha valido varios reconocimientos, incluyendo su inducción al Salón de la Fama de las Artes de la Comisión de Mujeres de El Paso. Sus pinturas también se encuentran en varias colecciones públicas y privadas, incluyendo las del Centro de Investigación Hispana de la Universidad Estatal de Arizona, el Museo de Arte de El Paso, el Museo Mexic-Arte, Austin, Tx., la Universidad de Arkansas en la Galería Little Rock, la Biblioteca Pública de El Paso, la Universidad de Texas en Austin, UTSA, Coronado Studios y muchos otros.
Esta serie de obras ofrece una visión íntima de la vida personal de María, mezclando memoria e identidad. A través de sus piezas, Natividad elabora una narrativa de celebración de la herencia cultural al capturar a su familia y las experiencias cotidianas vividas por los hispanos en El Paso, Texas, además de destacar eventos históricos significativos. Acompañada por narrativas interpretativas y letras de canciones, esta exposición invita al espectador no solo a reflexionar sobre las obras, sino también a interactuar con ellas personalmente, combinando memoria e identidad.
HTMLText_60AC186C_517A_CB0C_41B6_AA2C1A3A316E.html = Maria Almeida Natividad (b. 1947, El Paso) grew up in El Paso, Texas surrounded by the rich and distinctive cultures of the region that had a great influence in her life and art. Maria’s career has encompassed many areas having been an artist, illustrator, writer, muralist and educator with a priority being to instill pride in her students regarding their heritage and culture. She works in several medias, including oil, acrylics, mixed media, colored pencil, and pen and ink. Maria is best known for her watercolor and mixed media paintings.
Natividad's work has been included in a variety of exhibitions throughout the Southwest, earning her many honors such as the induction into the El Paso Commission of Women Hall of Fame in the Arts. Her paintings are also held in various public and private collections, including those of the Hispanic Research Center at Arizona State University, El Paso Museum of Art, Mexic-Arte Museum, Austin, Tx., University of Arkansas at Little Rock Gallery, the El Paso Public Library, University of Texas at Austin, UTSA, Coronado Studios and many others.
This series of work provides an intimate insight into Maria’s personal life, blending memory and identity. Through her pieces, Natividad crafts a narrative of celebrating cultural heritage by capturing her family and the everyday lived experiences of Hispanics in El Paso, Texas along with highlighting significant historical events. Accompanied by interpretive narratives and lyrics, this exhibition invites viewers to not only reflect upon the work but to engage with them on a personal level.
..........................................................
María Almeida Natividad (n. 1947, El Paso) creció en El Paso, Texas, rodeada de las ricas y distintivas culturas de la región que tuvieron una gran influencia en su vida y en su arte. La carrera de María ha abarcado diversas áreas, incluyendo arte, ilustración, escritura, muralismo y educación, con la prioridad de inculcar orgullo en sus estudiantes, con respecto a su herencia y cultura. Trabaja en varios medios, incluyendo óleo, acrílicos, técnicas mixtas, lápiz de color, y pluma y tinta. María es mejor conocida por sus pinturas de acuarela y técnicas mixtas.
El trabajo de Natividad ha sido parte de varias de exhibiciones en todo el suroeste, lo que le ha valido varios reconocimientos, incluyendo su inducción al Salón de la Fama de las Artes de la Comisión de Mujeres de El Paso. Sus pinturas también se encuentran en varias colecciones públicas y privadas, incluyendo las del Centro de Investigación Hispana de la Universidad Estatal de Arizona, el Museo de Arte de El Paso, el Museo Mexic-Arte, Austin, Tx., la Universidad de Arkansas en la Galería Little Rock, la Biblioteca Pública de El Paso, la Universidad de Texas en Austin, UTSA, Coronado Studios y muchos otros.
Esta serie de obras ofrece una visión íntima de la vida personal de María, mezclando memoria e identidad. A través de sus piezas, Natividad elabora una narrativa de celebración de la herencia cultural al capturar a su familia y las experiencias cotidianas vividas por los hispanos en El Paso, Texas, además de destacar eventos históricos significativos. Acompañada por narrativas interpretativas y letras de canciones, esta exposición invita al espectador no solo a reflexionar sobre las obras, sino también a interactuar con ellas personalmente, combinando memoria e identidad.
HTMLText_95BB41CA_B55F_6AEB_41CD_C8F362088E8F.html = Blast
La XV
2024
Oil on Canvas
"La XV" is a piece from my solo show from last year titled "The Joys of Mortgaging your Future",. My works deal with stereotypical "lowbrow" manners of living, focused on alcoholism, street life, and consumerism implanted into the "American Culture."
"My commercial work pays the bills and allows me to do what I love - my personal work. All of the images I use I capture myself, after all they really are a glimpse through my lens."
..........................................................
Blast
La XV
2024
Óleo sobre lienzo
HTMLText_AAB08D9B_B54B_1B69_41B5_01692AF4F40F.html = Blast
MACC Inaugural Exhibition Poster Artwork
2025
Oil on Canvas
Blast, the first in his family to be born in the U.S., grew up in El Paso under the care of his hardworking single mother. With limited supervision and minimal English language knowledge, he navigated his childhood through trial and error, often finding himself in morally questionable situations. Lacking traditional guidance in areas like education or social relations, he found amusement in graffiti, video games, and mischief. His early interest in graffiti developed into a passion, and later, his time at UTEP helped refine his artistic methods. Merging graffiti elements with "fine" art, Blast has collaborated on numerous projects and shared his expertise with local artists, leading many to adopt spray paint as another medium for their artwork.
..........................................................
Blast
Cartel de la exposición inaugural del MACC
2025
Óleo sobre lienzo
HTMLText_48B92BD1_51FA_4D14_41A0_7B37195B6264.html = Gaspar Enriquez
b. 1942 – present, El Paso, Texas
Sandra la Cholita
1995
Acrylic on paper (Airbrush)
Mexican American Cultural Center, Courtesy of Gaspar Enriquez
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Gaspar Enriquez
n. 1942 - presente, El Paso, Texas
Sandra la Cholita
1995
Acrilico en papel
HTMLText_4800CF5E_5B4E_E8C9_41AB_173ADE4F7D4F.html = ¡Bienvenidos al Centro Cultural México Americano de El Paso!
Welcome to El Paso’s Mexican American Cultural Center!
Location
201 W Franklin Ave.
El Paso, TX 79901
Admission Hours
Wednesday – Saturday
10 a.m. – 6 p.m.
Sunday
11 a.m. – 3 p.m.
Admission
Admission to the gallery spaces are free.
Admission for ticketed events and performances will have varying prices.
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Artist-in-Residence
The Artist-in-Residence studio is committed to providing artists of all backgrounds and mediums a designated space to experiment and create work with access to the MACCs state-of-the-art facilities and exhibition space.
Requirements:
• Open to artists 18+
• Must live in the Southwest Texas/
New Mexico/Arizona/
Mexico region
• Must sign waiver, liability
clause, background check.
Proposals will be chosen by MACC Curatorial Staff with community input. Selected artists will present an artist talk and lead two workshops that will open to the public and must commit to three days in the studio per week for four months.
Artist-in-Residence Orientation Session:
June 12 in the MACC Auditorium.
If interested, register for the MACC Artist-in- Residence Orientation Session.
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Black Box Theatre
The Black Box Theatre is the first of its kind within the City of El Paso’s facilities. The space is 2,754 square feet and can be utilized to host a variety of performances, events and meetings.
Amenities
• Microphones
• Projector & Screen
• AV Control Room
• Coat Room
• Green Room
Audience Capacity: 180
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Commercial Kitchen
The Commercial Kitchen is a state-of-the-art professional kitchen space designed for large scale food preparation including catering opportunities, rental opportunities for small business start-ups.
Amenities
• Double Door Freezer and Refrigerators
• Three Compartment Sink
• Ice Machine
• Heated Holding and Proofing Cabinet
• 36” countertop Charbroiler with cast
• iron radiants
• Gas Modular Countertop Ranges
• Refrigerated Chef Base
• Low Profile, Gas, Convection Oven
• Gas, Standalone Fryer
• iCombi Pro 6-full size E/G
• Prep Tables
• Commercial Grade Pots, Pans
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Dance & Acting Studio
The dance and acting studio is a space where community members can come and learn a new style of dance, rehearse improv, or prep choreography for a musical performance to be held in our black box theatre or auditorium. With hardwood floors, wall-to-wall mirrors, and a two-level ballet barre on multiple walls, this space is great for across the floor warmups, group exercise classes, authentic folklorico choreographies, or to learn cumbia, salsa, and quebradita dance styles as a couple.
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Digital Media Studio
The Media Arts and Maker Space Classroom is a flexible education space for 3-D project activities. Students can use a variety of 3-D digital technologies, and will primarily create 3-D objects of all types. The space is designated for the creation of a variety of sculptures, everyday objects or 3-D architectural or engineering models.
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Hands-On
Studio
Our art classrooms are flexible education rooms built for hands-on art activities engaging students of all ages. Our wet art classroom is meant to focus on a variety of media like crayon, charcoal, oil pastel, felt pen, as well as water-based paint on paper or canvas. A demonstration space where instructors, whether they are MACC staff or visiting teaching artists, can lead hands-on classes is also included.
Our digital art classroom is a space where students can engage in learning digital media, written word art, illustrated narratives, videography, photography, animation, and more. With a digital screen available, this space can also be used to lead meetings or other instructional experiences.
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Maker Spaces
The Media Arts and Maker Space Classroom is a flexible education space for 3-D project activities. Students can use a variety of 3-D digital technologies, and will primarily create 3-D objects of all types. The space is designated for the creation of a variety of sculptures, everyday objects or 3-D architectural or engineering models.
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Mexican American Cultural Center
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Recording Studio
The Recording Studio at the MACC is a space to capture the stories, songs, and viewpoints of El Paso’s Mexican American Community. The Recording Studio provides a multi-function space for podcasts, oral history recordings, and music recordings for emerging and professional artists.
Amenities
• Control Room
• Performance-Live Room
• Foyer
• Backline
• Protools
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Rooftop Terrace
Overlooking Cleveland Square Park, with a picturesque view of El Paso’s Downtown skyline, La Nube and The Chihuahua’s Baseball Stadium, the Rooftop Terrace is located on the third floor of the MACC.
The Terrace is an ideal location to meet old and new friends alike, in an inviting atmosphere. The Terrace is open for special MACC events including local and visiting chef pop-up experiences and rental opportunities.
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HTMLText_E5F3E8A6_C836_5BB9_41B8_D12615F174A2.html = Manuel Acosta
b. 1921, Alameda, Chihuahua
d. 1989, El Paso, Texas
Portrait of Ricardo Sanchez
1960 – 1970 oil on canvas
The medium of oil painting originates from Buddhist muralist work dating back to the 7th Century in Bamiyan, Afghanistan. Oil painting is still widely used by modern and contemporary artists as it brings color depth, like we see in Manuel Acosta’s paintings.
Most known for his portrait of Cesar Chavez, Manuel Acosta was a leading figure when bringing representation to Mexican Americans as he was one of the first painters to focus on Hispanic individuals. Acosta’s inspiration came directly from the everyday lived experiences and environments of El Paso, Texas capturing the attention of many across the U.S.
Mexican American Cultural Center, Courtesy of the Belk Collection
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Manuel Acosta
b. 1921, Alameda, Chihuahua
d. 1989, El Paso, Texas
Portrait of Ricardo Sanchez
1960 – 1970 óleo sobre lienzo
La técnica de la pintura al óleo se origina en el trabajo muralista budista que data del siglo VII en Bamiyán, Afganistán. La pintura al óleo sigue siendo ampliamente utilizada por artistas modernos y contemporáneos, ya que aporta profundidad de color, como se observa en las pinturas de Manuel Acosta.
Mayormente conocido por su retrato de César Chávez, Manuel Acosta fue una figura clave al dar representación a los mexicoamericanos, siendo uno de los primeros pintores en enfocarse en individuos hispanos. La inspiración de Acosta provino directamente de las experiencias cotidianas y los entornos de El Paso, Texas, captando la atención de muchos en los Estados Unidos.
Centro Cultural Mexicoamericano, Cortesía de la Colección Belk
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Mexican American Cultural Center
¡Bienvenidos al Centro Cultural México Americano de El Paso!
Welcome to El Paso’s Mexican American Cultural Center!
Location
201 W Franklin Ave.
El Paso, TX 79901
Admission Hours
Wednesday – Saturday
10 a.m. – 6 p.m.
Sunday
11 a.m. – 3 p.m.
Admission
Admission to the gallery spaces are free.
Admission for ticketed events and performances will have varying prices.
HTMLText_F9D1D286_C836_4E78_41C5_07D8FF9700A8.html =
Adrian Esparza
b. 1970 - present, El Paso, Texas
Puente.
2025
sarape, wood, nails and enamel
Mexican American Cultural Center Lobby Commission
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Adrian Esparza
n. 1970 - presente, El Paso, Texas
Puente.
2025
sarape, madera, clavos y esmalte
Lobby del Centro Cultural Mexicoamericano
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___________________________
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Auditorium
The Auditorium, located on the ground level of the MACC, has beautiful lighting, a sound and control room, and is served by three green room areas. The Auditorium is a great location to host conferences, performances, readings and presentations, and panels.
Amenities
• Projector & Screen
• Stage with Curtains
• 3 Green Rooms
Audience Capacity: 200 Seats
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HTMLText_FC197070_C836_CA98_41E2_9A3919656679.html = Blast
La XV
2024
Oil on Canvas
"La XV" is a piece from my solo show from last year titled "The Joys of Mortgaging your Future." My works deal with stereotypical "lowbrow" manners of living, focused on alcoholism, street life, and consumerism implanted into the "American Culture."
"My commercial work pays the bills and allows me to do what I love - my personal work. All of the images I use I capture myself, after all they really are a glimpse through my lens."
..........................................................
Blast
La XV
2024
Óleo sobre lienzo
HTMLText_FA57A461_C836_CAB8_41BA_6E9BBC3B5CCA.html = Blast
MACC Inaugural Exhibition Poster Artwork
2025
Oil on Canvas
Blast, the first in his family to be born in the U.S., grew up in El Paso under the care of his hardworking single mother. With limited supervision and minimal English language knowledge, he navigated his childhood through trial and error, often finding himself in morally questionable situations. Lacking traditional guidance in areas like education or social relations, he found amusement in graffiti, video games, and mischief. His early interest in graffiti developed into a passion, and later, his time at UTEP helped refine his artistic methods. Merging graffiti elements with "fine" art, Blast has collaborated on numerous projects and shared his expertise with local artists, leading many to adopt spray paint as another medium for their artwork.
..........................................................
Blast
Cartel de la exposición inaugural del MACC
2025
Óleo sobre lienzo
HTMLText_E6BCB470_C83A_4A98_41DE_4ADF61A488F1.html = Gaspar Enriquez
b. 1942 – present, El Paso, Texas
Sandra la Cholita
1995
Acrylic on paper (Airbrush)
Mexican American Cultural Center, Courtesy of Gaspar Enriquez
..........................................................
Gaspar Enriquez
n. 1942 - presente, El Paso, Texas
Sandra la Cholita
1995
Acrilico en papel
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HTMLText_4B309345_51CA_7D7C_41C8_E886CD4E8F78.html = Jason Lucero
b. 1979 – present, Lawton, Oklahoma
Tsunamicide
2025
mixed media on wood panel
Inspired by Troy Montes Michie’s work, Jason Lucero’s mixed media pieces embrace the medium of collage and the abstract aesthetic. While Jason focuses on creating landscapes that depicts a dream like familiar state, Troy Montes Michie pays an ode to subcultures and power structures through his empowering depiction of brown and black bodies in an effort to create accuracy. Growing up, Montes Michie saw a skewed representation in magazines when it came to people of color, thus inspiring him to create works that promote perseverance.
What are the similarities and differences in how each artist approaches collage in their pieces?
Mexican American Cultural Center, Courtesy of the Artist
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Jason Lucero
n. 1979 – presente, Lawton, Oklahoma
Tsunamicidio
2025
técnica mixta sobre panel de madera
Indicaciones para comparar la obra de Jason y Troy:
Inspirado en la obra de Troy Montes Michie, las piezas de técnica mixta de Jason Lucero adoptan el medio del collage y una estética abstracta. Mientras que Jason se enfoca en la creación de paisajes que representan un estado onírico y familiar, Troy Montes Michie rinde homenaje a las subculturas y a las estructuras de poder a través de su representación empoderadora de cuerpos negros y morenos en un esfuerzo por generar mayor precisión. Durante su infancia, Montes Michie notó la representación sesgada de las personas de color en revistas, lo que lo llevó a crear obras que fomentan la perseverancia. ¿Cuáles son las similitudes y diferencias en la manera en que cada artista aborda el collage en sus piezas?
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_4B16551D_51CA_450C_41A1_14F64E0ACF8F.html = Jason Lucero
b. 1979 – present, Lawton, Oklahoma
Your Street, My Street
2025
mixed media on wood panel
Mexican American Cultural Center, Courtesy of the Artist
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Jason Lucero
n. 1979 – presente, Lawton, Oklahoma
Tu Calle, Mi Calle
2025
técnica mixta sobre panel de madera
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_6792BBDB_533A_4D14_41C2_826BFD5671B9.html = Marco Sanchez
b. 1983 – present, Ciudad Juarez, Chihuahua
Madre Maiz
2024
lithography and watercolor embellished
Mexican American Cultural Center, Courtesy of the Artist
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Marco Sanchez
n. 1983 – presente, Ciudad Juárez, Chihuahua
Madre Maiz
2024
litografía con detalles en acuarela
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_63D37946_52FB_CD7C_41C4_6A4D64EB3D10.html = Abel Saucedo
b. 1984 - present, El Paso, Texas
Boca de Ballena
2024
acrylic
Mexican American Cultural Center, Courtesy of the Artist
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Abel Saucedo
n. 1984 - present, El Paso, Texas
Boca de Ballena
2024
acrílico
Centro Cultural Mexicoamericano, Cortesía del artista
HTMLText_63C43B8F_52FB_CD0D_41CC_BF436E243A3A.html = Abel Saucedo
b. 1984 - present, El Paso, Texas
Nudos Rojos
2022
acrylic
Mexican American Cultural Center, Courtesy of the Artist
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Abel Saucedo
n. 1984 - presente, El Paso, Texas
Nudos Rojos
2022
acrílico
Centro Cultural Mexicano-Americano, cortesía del artista
HTMLText_485FC81D_51FA_4B0C_41CE_BCA9A1CA811A.html = Adrian Esparza
b. 1970 - present, El Paso, Texas
Puente.
2025
sarape, wood, nails and enamel
Mexican American Cultural Center Lobby Commission
..........................................................
Adrian Esparza
n. 1970 - presente, El Paso, Texas
Puente.
2025
sarape, madera, clavos y esmalte
Lobby del Centro Cultural Mexicoamericano
HTMLText_48D78F11_51FA_4514_41C6_FD7D0AF173C7.html = Adriana Corral
b. 1983 - present, El Paso, Texas
Per Legem Terrae
Originally commissioned and produced by Artpace, San Antonio, Texas.
2014/2025
Acetone transfer and colored pencil on gessobord
Can you recognize anything in the smudged lines of this piece? Take a moment to examine it closely and make a guess at what it could be.
Adriana Coral intentionally created these blurred lines by layering names from victims of femicides at the border. Corral was motivated to create a series of works after constantly reading the newspaper about the femicides in Juárez. Her desire is to bring awareness to the troubling reality of gender violence not only in Mexico but across the world. Adriana’s utilization of drawing and installation offers a deeper exploration of the medium, showcasing its powerful form of storytelling.
Mexican American Cultural Center, Courtesy of the Artist
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Adriana Corral
n. 1983 - presente, El Paso, Texas
Per Legem Terrae
2014/2025
Técnica Mixta
¿Puede reconocer algo en las líneas borrosas de esta pieza? Tómese un momento para
examinarla de cerca y haga una suposición sobre lo que podría ser.
Adriana Corral creó intencionalmente estas borrosidades mediante la superposición continua de nombres de víctimas de feminicidios en la frontera. Corral fue influenciada por sus días en El Paso leyendo periódicos sobre los feminicidios en Juárez. Espera concienciar sobre la realidad de la violencia de género no solo en México sino en todo el mundo. La utilización de la escultura por parte de Adriana ofrece una exploración más profunda del medio, mostrando su capacidad como una poderosa forma de narración.
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_60DAEBBB_52FA_4D14_41D2_478C0052EE9D.html = Celia Álvarez Muñoz
b. 1937 – present, El Paso, Texas
La Honey
1983
silver photographs, letterpress type narrative on rives paper, rock wood maple wood, plexiglass
Mexican American Cultural Center, Courtesy of the Artist
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Celia Álvarez Muñoz
n. 1937 – presente, El Paso, Texas
La Honey
1983
fotografías en plata, narrativa tipográfica en relieve sobre papel rives, madera de arce,
plexiglás
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_60F6183F_52FA_4B0D_41D1_DBD3C10026B7.html = Diana Molina
b. 1958 - present, El Paso, Texas
Dos XX Serape
2023
collage
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Diana Molina
n. 1958 - presente, El Paso, Texas
Dos XX Sarape
2023
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_60C311F8_52FA_5D14_41D2_8B32E8399A0B.html = Diana Molina
b. 1958 - present, El Paso, Texas
El Sol
2025
collage
Mexican American Cultural Ceneter, Courtesy of the Artist
..........................................................
Diana Molina
n. 1958 - presente, El Paso, Texas
El Sol
2025
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_6103853F_52FA_450C_41CD_1502FFFBE285.html = Diana Molina
b. 1958 - present, El Paso, Texas
I Never Promised You a Rose Garden
2023
collage
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Diana Molina
n. 1958 - presente, El Paso, Texas
Nunca te prometí un jardín de rosas
2023
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_6118FEA8_52FA_4734_41CF_0E8759926013.html = Diana Molina
b. 1958 - present, El Paso, Texas
La Cosa Es Buscarle
2023
collage
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Diana Molina
n. 1958 - presente, El Paso, Texas
La Cosa Es Buscarle
2023
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_64C99350_52DA_3D14_41D0_AD47ED428076.html = Diana Molina
b. 1958 - present, El Paso, Texas
La Luna
2025
collage
Mexican American Cultural Ceneter, Courtesy of the Artist
..........................................................
Diana Molina
n. 1958 - presente, El Paso, Texas
La Luna
2025
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_61347BCF_52FA_4D0C_41B7_82CD3C25D4B2.html = Diana Molina
b. 1958 - present, El Paso, Texas
Las Glorias para Cesar Martinez!
2023
collage
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Diana Molina
n. 1958 - presente, El Paso, Texas
Las Glorias para César Martínez!
2023
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_36F5924B_6DE5_F904_41DA_2FD4E2DA1BB7.html = Francisco Delgado
Cuidame Madre
Acrylic on Canvas
City of El Paso Public Art Collection
..........................................................
Francisco Delgado
Cuidame Madre
Acrílico sobre lienzo
Colección de arte público de la ciudad de El Paso
HTMLText_6070722E_52FB_DF0C_41C8_29FF05591A22.html = Gloria Osuna Perez
b. 1947, Madera, California
d. 1999, El Paso, Texas
Angela Marmolejo
No Date
Acrylic on canvas
Portrait art refers to the different techniques that reflect a specific individual, which dates back to ancient Egyptian times. Gloria Osuna Perez’s portraiture went beyond the confines of this practice as she described her work as Supraportraits, meaning beyond and above portraits. In her paintings, Osuna Perez darkened the skin tones of her participants to bring a sense of representation as she wanted to implement a reflection and relatability to the community of El Paso, Texas.
In contrast to the common representation of Eurocentrism within art and media, both Gloria Osuna Perez and Manuel Acosta’s work features subjective portrayals of Mexican Americans. How does each artist’s presentation of their work’s participants enable the community to connect with their art?
Mexican American Cultural Center, Courtesy of Roberto Perez Diaz.
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Gloria Osuna Perez
b. 1947, Madera, California
d. 1999, El Paso, Texas
Angela Marmolejo
Sin Fecha
Acrylico
El arte del retrato abarca diferentes técnicas que reflejan a una persona en una práctica que se remonta al antiguo Egipto. Sin embargo, el trabajo de Gloria Osuna Perez trascendió los límites de esta tradición, pues ella describía sus piezas como Supraportraits, es decir, retratos que van más allá de lo convencional. En sus pinturas, Osuna Perez oscurecía los tonos de piel de sus sujetos para reforzar la representación de la comunidad de El Paso, Texas, promoviendo la reflexión y la identificación con su arte.
En contraste con la representación eurocentrista predominante en el arte y los medios de comunicación, tanto Gloria Osuna Perez como Manuel Acosta presentan retratos subjetivos de los mexicanoamericanos.
¿De qué manera la representación de los participantes en las obras de cada artista permite que la comunidad se conecte con su arte?
Centro Cultural Mexicoamericano,
HTMLText_604CFBD0_52FB_CD14_41D2_184D1D84E648.html = Gloria Osuna Perez
b. 1947, Madera, California
d. 1999, El Paso, Texas
Untitled
No Date
Acrylic on canvas
Portrait art refers to the different techniques that reflect a specific individual, which dates back to ancient Egyptian times. Gloria Osuna Perez’s portraiture went beyond the confines of this practice as she described her work as Supraportraits, meaning beyond and above portraits. In her paintings, Osuna Perez darkened the skin tones of her participants to bring a sense of representation as she wanted to implement a reflection and relatability to the community of El Paso, Texas.
Mexican American Cultural Center, Courtesy of Roberto Perez Diaz
..........................................................
Gloria Osuna Perez
b. 1947, Madera, California
d. 1999, El Paso, Texas
Untitled
No Date
Acrylic on canvas
Mising text.
HTMLText_4B09DC23_51CA_4B34_41D1_043B0D489D77.html = Ingrid Leyva
b. 1987 – present, Chihuahua, Chihuahua
Mexican Shoppers Series
2019
digital photographs
Mexican American Cultural Center, Courtesy of the Artist
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Ingrid Leyva
n. 1987 – presente, Chihuahua, Chihuahua
Serie Compradores Mexicanos
2019
fotografías digitales
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_4B638A4A_51CA_4F74_41A3_03A7A81D3F27.html = Jason Lucero
b. 1979 – present, Lawton, Oklahoma
Crosby Sunset
2025
mixed media on wood panel
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Jason Lucero
n. 1979 – presente, Lawton, Oklahoma
Atardecer en Crosby
2025
técnica mixta sobre panel de madera
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_63B1E459_52FB_DB14_4174_0DCA92F5176A.html = Jose Villalobos
b. 1988 - present, El Paso, Texas
Diseñando Masculinidades Brown
2024
wood panel, rope, acrylic
Notice the different shapes and color tones of each sculpture as you walk around it. Does it remind you of anything familiar from this specific region? Jose Villalobos’ work brings a resonating concept of life on the border by highlighting common cultural practices and spatial elements of the Southwest.
Identifying as a Queer Fronterizo, Jose Villalobos grew up both in El Paso, Texas and Juárez where he directly confronted the impacts of machismo, inspiring his influential performance pieces and sculptural work. Villalobos describes his art as deconstructing hegemonic powers of masculinity by placing forth his narratives of both pain and resistance that resonates with many LGBTQ+ Mexicana and Mexican Americans.
Mexican American Cultural Center, Courtesy of the Artist
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Jose Villalobos
nacimiento 1988 a present, El Paso, Texas
Diseñando Masculinidades Marrón
2024
panel de madera, cuerda, acrílico
Observe las diferentes formas y tonos de color de cada escultura mientras camina a su alrededor. ¿Le recuerda a algo familiar de esta región específica? El trabajo de Jose Villalobos transmite un concepto que resuena profundamente con la vida en la frontera al destacar prácticas culturales comunes y elementos espaciales del suroeste.
Identificándose como Queer Fronterizo, Jose Villalobos creció tanto en El Paso, Texas, como en Juárez, donde confrontó directamente los impactos del machismo, lo que inspiró sus influyentes piezas de performance y esculturas. Villalobos describe su arte como una deconstrucción de los poderes hegemónicos de la masculinidad, presentando narrativas de dolor y resistencia que conectan con muchas personas LGBTQ+ mexicanas y mexicoamericanas.
Centro Cultural Mexicoamericano, Cortesía del artista.
HTMLText_63BBF118_52FB_DD14_41C2_803209201D13.html = Jose Villalobos
b. 1988 - present, El Paso, Texas
Diseñando Masculinidades Orange
2024
wood panel, rope, acrylic
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Jose Villalobos
n. 1988 - present, El Paso, Texas
Diseñando Masculinidades Naranja
2024
panel de madera, cuerda, acrílico
Centro Cultural Mexicoamericano, Cortesía del artista
HTMLText_6A696359_534A_DD14_41C6_6BB1F8C17766.html = Jose Villalobos
b. 1988 - present, El Paso, Texas
Diseñando Masculinidades Red
2024
wood panel, rope, acrylic
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Jose Villalobos
n. 1988 - present, El Paso, Texas
Diseñando Masculinidades Rojo
2024
panel de madera, cuerda, acrílico
Centro Cultural Mexicoamericano, Cortesía del artista
HTMLText_4B851846_51FA_4B7C_41BE_3E95A1584F97.html = Luis Jimenez
b. 1940, El Paso, Texas
d. 2006, Hondo, New Mexico
Bronco I – Bronco II
1978
lithograph
I felt like (my work) was a blue-collar process, I didn’t want to go for that art process
-Luis Jimenez
During the time of the minimalist art movement, which began in the late 1950s-1970s, artists simplified the composition of their work through the use of simple geometric shapes. Luis Jimenez’s work was seen as controversial to this movement as he incorporated a variety of garish elements into his sculpture and print work.
Working under his father as a sign maker, Luis Jimenez saw his father's labor projects as an artistic medium which he then began to teach himself how to paint and engage in other mediums. His work has broadened the representation of Mexican Americans in public life and art as Jimenez heavily focused on creating a different perspective of the history of Mexico and the Southwest.
Mexican American Cultural Center, Courtesy of the Robert Belk and Margaret Amada
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Luis Jimenez
n. 1940, El Paso, Texas
f. 2006, Hondo, Nuevo México
Bronco I – Bronco II
1978
litografía
Centro Cultural Mexicoamericano, Cortesía de la Colección Belk
"Sentía que (mi trabajo) era un proceso de clase trabajadora, no quería optar por ese proceso artístico" -Luis Jimenez Durante el movimiento artístico minimalista, que comenzó a finales de los años 50 y se extendió hasta los 70, los artistas simplificaron la composición de sus obras mediante el uso de formas geométricas básicas. El trabajo de Luis Jimenez fue visto como controvertido dentro de este movimiento, ya que incorporó una variedad de elementos estridentes en sus esculturas y grabados. Trabajando bajo la dirección de su padre como rotulista, Jimenez vio los proyectos laborales de su padre como un medio artístico, lo que lo llevó a enseñarse a sí mismo a pintar y a explorar otros medios. Su obra ha ampliado la representación de los mexicoamericanos en la vida pública y el arte, ya que Jimenez se enfocó en crear una perspectiva diferente de la historia de México y el suroeste de EE.UU.
Centro Cultural Mexicoamericano, Cortesía del Museo de Arte de El Paso
HTMLText_4B58A738_51CA_4514_41CD_A4AB50FE4720.html = Luis Jimenez
b. 1940, El Paso, Texas
d. 2006, Hondo, New Mexico
Aire, Tierra, Fuego y Agua
1989
lithograph
Mexican American Cultural Center, Courtesy of the Gaspar Enriquez Collection
..........................................................
Luis Jimenez
n. 1940, El Paso, Texas
f. 2006, Hondo, Nuevo México
Aire, Tierra, Fuego y Agua
1989
litografía en piedra
Centro Cultural Mexicoamericano, Cortesía de la Colección Gaspar Enríquez
HTMLText_4B52D504_51CA_5AFC_41CC_B67FAC34E67E.html = Luis Jimenez
b. 1940, El Paso, Texas
d. 2006, Hondo, New Mexico
El Buen Pastor (The Good Shepherd)
1999
lithograph
Mexican American Cultural Center, Courtesy UTEP Special Collections
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Luis Jimenez
b. 1940, El Paso, Texas
d. 2006, Hondo, New Mexico
El Buen Pastor (The Good Shepherd)
1999
lithograph
Centro Cultural Mexicano-Americano, cortesía de las Colecciones Especiales de la UTEP.
HTMLText_48492D4A_51FA_4574_41C2_230EADD17E5E.html = Mago Gandara
b. 1929, El Paso, Texas
d. 2018, El Paso, Texas
The Weaver
1996
Fiberglass
Mexican American Cultural Center, Courtesy of Pierre Hernandez
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Mago Gandara
n. 1929, El Paso, Texas
f. 2018, El Paso, Texas
El tejedor
1996
Fibra de vidrio
Centro Cultural Mexicano-Americano, cortesía de Pierre Hernández
HTMLText_4738C885_514A_4BFC_41CA_37DCB991153E.html = Manuel Acosta
b. 1921, Alameda, Chihuahua
d. 1989, El Paso, Texas
Portrait of Ricardo Sanchez
1960 – 1970 oil on canvas
The medium of oil painting originates from Buddhist muralist work dating back to the 7th Century in Bamiyan, Afghanistan. Oil painting is still widely used by modern and contemporary artists as it brings color depth, like we see in Manuel Acosta’s paintings.
Most known for his portrait of Cesar Chavez, Manuel Acosta was a leading figure when bringing representation to Mexican Americans as he was one of the first painters to focus on Hispanic individuals. Acosta’s inspiration came directly from the everyday lived experiences and environments of El Paso, Texas capturing the attention of many across the U.S.
Mexican American Cultural Center, Courtesy of the Belk Collection
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Manuel Acosta
b. 1921, Alameda, Chihuahua
d. 1989, El Paso, Texas
Portrait of Ricardo Sanchez
1960 – 1970 óleo sobre lienzo
La técnica de la pintura al óleo se origina en el trabajo muralista budista que data del siglo VII en Bamiyán, Afganistán. La pintura al óleo sigue siendo ampliamente utilizada por artistas modernos y contemporáneos, ya que aporta profundidad de color, como se observa en las pinturas de Manuel Acosta.
Mayormente conocido por su retrato de César Chávez, Manuel Acosta fue una figura clave al dar representación a los mexicoamericanos, siendo uno de los primeros pintores en enfocarse en individuos hispanos. La inspiración de Acosta provino directamente de las experiencias cotidianas y los entornos de El Paso, Texas, captando la atención de muchos en los Estados Unidos.
Centro Cultural Mexicoamericano, Cortesía de la Colección BeLK.
HTMLText_603734F6_52FB_FB1C_41C8_C78F5F8A4A23.html = Marco Sanchez
b. 1983 – present, Ciudad Juarez, Chihuahua
Desert Bootquet
2020
relief print
Mexican American Cultural Center, Courtesy of the Artist
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Marco Sanchez
n. 1983 – presente, Ciudad Juárez, Chihuahua
Ramo del Desierto
2020
impresión en relieve
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_6415E98B_533A_4DF4_41CA_2D37C0285D02.html = Marco Sanchez
b. 1983 – present, Ciudad Juarez, Chihuahua
Elixir
2025
color lithography
Mexican American Cultural Center, Courtesy of the Artist
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Marco Sanchez
n. 1983 – presente, Ciudad Juárez, Chihuahua
Elixir
2025
litografía a color
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_66D5CB00_533A_CEF4_41CA_117E2CB2A0D1.html = Marco Sanchez
b. 1983 – present, Ciudad Juarez, Chihuahua
Sudados
2020
etching with aquatint
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Marco Sanchez
n. 1983 – presente, Ciudad Juárez, Chihuahua
Sudados
2020
aguafuerte con aguatinta
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_60B57517_52FA_451C_41D0_18022E208908.html = Marianna Olague
b. 1990 - present, El Paso, Texas
Mirror Charms
2024
oil on canvas
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Marianna Olague
bn. 1990 - presente, El Paso, Texas
Amuletos de Espejo
2024
óleo sobre lienzo
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_608D6EC6_52FB_C77C_41CB_9137988D8EC7.html = Marianna Olague
b. 1990 - present, El Paso, Texas
Virgen por el Gateway South
2021
oil on canvas
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Marianna Olague
n. 1990 - presente, El Paso, Texas
Virgen por el Gateway South
2021
óleo sobre lienzo
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_3636A97A_6DE5_8B04_41D9_F078E256C307.html = Ricardo Chavaria
61
Acrylic on Canvas
City of El Paso Public Art Collection
..........................................................
Ricardo Chavaria
61
Acrílico sobre lienzo
Colección de arte público de la ciudad de El Paso
HTMLText_495FF0DB_51FA_3B14_41D0_6B6F33567526.html = Richard Armendariz
b. 1969 – present, El Paso, Texas
Exodus II (remix)
2021
wood block print
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Richard Armendariz
n. 1969 - presente, El Paso, Texas
Éxodo II (remix)
2021
grabado en madera
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_62F91210_52CA_DF14_41C4_F54C7869AA0C.html = Richard Armendariz
b. 1969 – present, El Paso, Texas
Muro Hopper
2020
wood block print
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Richard Armendariz
n. 1969 - presente, El Paso, Texas
Muro Hopper
2020
grabado en madera
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_48F930B4_51FA_5B1C_41CE_DE4986CDCBA2.html = Richard Armendariz
b. 1969 – present, El Paso, Texas
Point of No Return
2021
wood block print
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Richard Armendariz
n. 1969 - presente, El Paso, Texas
Punto de no retorno
2021
grabado en madera
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_4898D436_51FA_5B1C_41CC_1E9834F7C86E.html = Richard Armendariz
b. 1969 – present, El Paso, Texas
Wish I Could Leave Well Enough Alone
2021
wood block print
Richard Armendariz incorporates elements of Greek and Meso-American mythology to reflect his upbringing along the U.S.-Mexico border.. These woodblock prints capture the interplay between human and animal relationships that also come from classical art references, such as St Anthony’s Sermon to the Fish. The process of wood block printing involves carving an image onto a block of wood, inking it and pressing int onto paper or fabric. This method of art has been utilized since ancient China and has been applied in many Mexican American artist's practices.
In each of Armendariz woodblock prints, a bird appears. What do you think this symbolizes?
Mexican American Cultural Center, Courtesy of the Artist
..........................................................
Richard Armendariz
n. 1969 - presente, El Paso, Texas
Ojalá pudiera dejarlo como está
2021
grabado en madera
Richard Armendariz alude a su crianza a lo largo de la frontera entre EE. UU. y México mediante el uso de mitología griega y mesoamericana. Estos grabados en madera capturan la interacción entre las relaciones humanas y animales, que también provienen de referencias artísticas clásicas, como el Sermón a los Peces de San Antonio. El proceso de grabado en madera implica tallar una imagen sobre un bloque de madera, entintarlo y presionarlo sobre papel o tela. Este método de arte ha sido utilizado desde la antigua China y ha sido aplicado en las prácticas de muchos artistas mexicoamericanos. En cada uno de los grabados en madera de Armendariz aparece un pájaro; ¿qué crees que simboliza?
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_6158D323_52FA_5D34_419C_A3BF0B1FCEB4.html = Troy Montes Michie
b. 1985 - present, El Paso, Texas
Tacuche #4
2019
clothing fragments, shoe fragments, hanger with zoot suit jacket
Tacuche #7
2021
welded steel, hangers, cut fabric, cut paper, polyester thread, leather, and ink
Tacuche #8
2021
welded steel, hangers, cut fabric, cut paper, polyester thread, leather, and ink
Tacuche #10
2021
welded steel, hangers, cut fabric, cut paper, polyester thread, leather, and ink
Tacuche #11
2021
welded steel, hangers, cut fabric, cut paper, polyester thread, leather, and ink
Tacuche #13
2021
welded steel, hangers, cut fabric, cut paper, polyester thread, leather, and ink
Mexican American Cultural Center, Courtesy of Company Gallery LLC
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Troy Montes Michie
n. 1985 - presente, El Paso, Texas
Tacuche #4
2019.
fragmentos de ropa, fragmentos de calzado, gancho con saco zoot suit.
Tacuche #7
2021
acero soldado, ganchos, tela recortada, papel recortado, hilo de poliéster, cuero y tinta.
Tacuche #8
2021
acero soldado, ganchos, tela recortada, papel recortado, hilo de poliéster, cuero y tinta.
Tacuche #10
2021
acero soldado, ganchos, tela recortada, papel recortado, hilo de poliéster, cuero y tinta.
Tacuche #11
2021
acero soldado, ganchos, tela recortada, papel recortado, hilo de poliéster, cuero y tinta.
Tacuche #13
2021
acero soldado, ganchos, tela recortada, papel recortado, hilo de poliéster.
HTMLText_6147BB97_52FA_4D1C_41CF_B1682498CBE8.html = Troy Montes Michie
b. 1985 - present, El Paso, Texas
Rucas
2022
acrylic, watercolor, ink, cut fabric, colored pencil, polyester thread, zippers, and digital print on canvas
Mexican American Cultural Center, Courtesy of Company Gallery
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Troy Montes Michie
n. 1985 - presente, El Paso, Texas
Rucas
2022
acrílico, acuarela, tinta, tela recortada, lápiz de color, hilo de poliéster, cierres y impresión
digital sobre lienzo
Centro Cultural Mexicoamericano, Cortesía de Company Gallery
HTMLText_63A3E6E6_52FB_C73C_41D4_6C24A90BAECD.html = Vick Quezada
b. 1979 – present, El Paso, Texas
ICE REMAINS
2023
ceramic, mid fire clay with white satin underglaze
Art is a liberatory practice which I have gained a deeper understanding of myself, my community, the world and the structural powers that surround us -Vick Quezada
Growing up in a strict and repressive household influenced Quezada to reflect on the alternate ways of existing, leading them to create art that speaks to structures of power. Specifically, Quezada utilizes the practice of Rasquachismo in his ceramic pieces and sculptures. Rasquachismo , a term created by Tomás Ybarra-Frausto stems from Rasquache meaning the repurposing of found objects. Rasquachismo is often used by working class Chicano and Mexican artists. This piece displays an allegory of the reoccurring political climate and attitude of immigration in the United States by repurposing cafeteria trays.
Mexican American Cultural Center, Courtesy of the Artist
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Vick Quezada
nacimiento 1979 a present, El Paso, Texas
RESTOS DE HIELO
2023
cerámica, arcilla de media temperatura con engobe (bajo esmalte) blanco satinado El arte es una práctica liberadora a través de la cual he adquirido una comprensión más profunda de mí mismo, mi comunidad, el mundo y las estructuras de poder que nos rodean. Vick Quezada.
El haber crecido en un hogar estricto y represivo llevó a Quezada a reflexionar sobre formas alternativas de existencia, lo que les inspiró a crear arte que aborda las estructuras de poder. En particular, Quezada emplea la práctica del Rasquachismo en sus piezas cerámicas y esculturas. Rasquachismo, un término acuñado por Tomás Ybarra-Frausto, proviene de Rasquache, que se refiere a la reutilización de objetos encontrados. Rasquachismo es utilizado con frecuencia por artistas chicanos y mexicanos de clase trabajadora. Esta pieza es una alegoría del clima político recurrente y la actitud hacia la inmigración en los Estados Unidos mediante la reutilización de bandejas de cafetería.
Centro Cultural Mexicoamericano, Cortesía del artista.
HTMLText_605CF5CC_5179_C50C_41C5_37A4E201B112.html = 1936 Ford
1996
watercolor
In “1936 Ford” Maria Almeida Natividad touches on a subject close to her culture and to her own family. The automobile is an icon of success in America, and both Maria’s father and grandfather had “handsome old classic cars.” The artist’s apparently simple rendering of a shiny car is full of subtle treats to the eye. Her selection of a low viewpoint allows her to include three landscapes in her painting: the hills, trees, and sky that the car faces, the tiny jewel of a landscape reflected in the hubcap, and the elongated landscape that stretches like a highway along the curves of the chrome bumper. Sumptuous, swirling, wet-on-wet clouds and streamlined curves that speed around the gleaming surfaces of the car’s body introduce movement into an otherwise stable, symmetrical composition. Almeida Natividad’s painstaking rendering of metallic details contrast dramatically with the much looser technique she uses to represent the car’s natural surroundings. The warm browns of the land contrast with the harsh blue-black of automotive lacquer. The sharply defined edges of metal forms contrast with the loose brown and blue edges at the perimeter of the image. “1936 Ford” celebrates not only a classic car collector’s dream but also Almeida Natividad’s mastery of her medium.
Mexican American Cultural Center, Courtesy of the Artist
(Print) Original in the Collection of Mexi-Arte Museum, Austin, Texas
Narrative courtesy of Mary Erickson, 2002, p. 33, Contemporary Chicana and Chicano Art, Vol. 1, Published by Bilingual Press, Hispanic Research Center-Arizona State University
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Ford de 1936
1996
acuarela
En "Ford de 1936", María Almeida Natividad toca un tema cercano a su cultura y a su propia familia. El automóvil es un ícono de éxito en Estados Unidos, y tanto el padre como el abuelo de María tenían "hermosos autos clásicos antiguos". La representación aparentemente simple de la artista de un automóvil brillante está llena de sutiles delicias para la vista. Su elección de un punto de vista bajo le permite incluir tres paisajes en su pintura: las colinas, los árboles y el cielo al que se enfrenta el automóvil, la pequeña joya de un paisaje reflejada en el tapacubos y el paisaje alargado que se extiende como una autopista a lo largo de las curvas del parachoques cromado. Las nubes suntuosas, arremolinadas y mojadas sobre mojado y las curvas aerodinámicas que se aceleran alrededor de las superficies relucientes de la carrocería del automóvil introducen movimiento en una composición simétrica y estable. La minuciosa representación de los detalles metálicos de Almeida Natividad contrasta drásticamente con la técnica mucho más suelta que utiliza para representar el entorno natural del coche. Los marrones cálidos de la tierra contrastan con el negro azulado duro de la laca automotriz. Los bordes nítidamente definidos de las formas metálicas contrastan con los bordes marrones y azules sueltos en el perímetro de la imagen. "1936 Ford" celebra no solo el sueño de un coleccionista de autos clásicos, sino también el dominio de Almeida Natividad en su medio.
Centro Cultural México-Americano, cortesía de la artista
(Imprimir) Original en la Colección del Museo Mexi-Arte, Austin, Texas
Narración cortesía de Mary Erickson, 2002, p. 33, Contemporary Chicana and Chicano Art, Vol. 1, Publicado por Bilingual Press, Hispanic Research Center-Arizona State University
HTMLText_60B91574_5179_C51C_41A1_51579589EC4D.html = Adriana
1994
watercolor, prismacolor pencil
When Natividad was a child, she spent her time making paper dolls, an activity she has transformed into life-size cutouts of people. In Adriana, Natividad portrays a young girl riding a bicycle with training wheels across the grass on a warm summer’s day. To create the form, she builds up the transparent water media on watercolor paper attached to foamcore board that she cuts with a craft knife. This life-size cutout creates the effect of timeless youth in summertime freedom. Natividad says, “When I started doing these cutouts, I thought to myself, this is what I enjoyed doing when I was a little girl; now my paper doll cutouts are life-size paintings.” Natividad’s artistic focus has come about through an evolution of her own life and her educational experiences. While earning her associate’s degree in art in California, she took a class in Chicano studies, a course that had a strong influence on her art and her life. She lived in the Central Valley during the time of Cesar Chavez and his movement for the rights of farm workers. “The Chicano studies class and the United Farmworkers’ struggle for justice influenced me quite a bit,” Natividad remembers. "In California, the seed was planted, and the character and formation of my work took a different path. From that point on I began to focus on creating a body of work that represents my culture and heritage.”
Mexican American Cultural Center, Courtesy of the Artist
Detail of larger installation “Four Stages of Life
Narrative courtesy of Kippra D. Hopper, Laurie J. Churchill. “Art of West Texas Women”, Texas Tech University Press, 2010, p.44
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Adriana
2009
acuarela, lápiz prismacolor
Cuando Natividad era niña, se dedicaba a hacer muñecas de papel, una actividad que ha transformado en recortes de personas a tamaño natural. En Adriana, Natividad interpreta a una niña que anda por el césped en bicicleta con llantas de apoyo en un cálido día de verano. Para crear la forma, construye el medio de agua transparente en papel de acuarela unido a un tablero de espuma que corta con un cuchillo artesanal. Este recorte de tamaño natural crea el efecto de una juventud atemporal en la libertad del verano. Natividad dice: "Cuando comencé a hacer estos recortes, pensé, esto es lo que disfrutaba hacer cuando era niña; Ahora mis recortes de muñecas de papel son cuadros de tamaño natural". El enfoque artístico de Natividad ha surgido a través de una evolución de su propia vida y sus experiencias educativas. Mientras obtenía su título de asociado en arte en California, tomó una clase de estudios chicanos, un curso que tuvo una fuerte influencia en su arte y su vida. Vivió en el Valle Central durante la época de César Chávez y su movimiento por los derechos de los trabajadores agrícolas. "La clase de estudios chicanos y la lucha por la justicia de la Unión de Campesinos me influyeron bastante", recuerda Natividad. "En California se plantó la semilla, y el carácter y la formación de mi trabajo tomaron un camino diferente. A partir de ese momento, comencé a centrarme en crear un cuerpo de trabajo que representara mi cultura y herencia".
Centro Cultural México-Americano, cortesía de la artista
Detalle de una instalación más grande "Cuatro Etapas de la Vida
Narración cortesía de Kippra D. Hopper, Laurie J. Churchill. "El arte de las mujeres del oeste de Texas", Texas Tech University Press, 2010, p.44
HTMLText_60A365C4_5179_C57C_41D1_6471AE35B934.html = Christina
1994
watercolor, prismacolor pencil
“Christina” is one of four freestanding figures that make up Maria’s “Four Stages of Life” installation. In Christina, Almeida Natividad has not chosen a girl coming of age at her quinceñera but instead presents a more contemporary image of adolescence. Christina’s abundance of wavy hair cascades loosely rather than being tied into a traditional coiffure. Her manner of dress is not lacy, flouncy, and pastel in color but contemporary, urban, and casual. Her posture is confidant and determined, not demurely feminine. Maria Almeida Natividad states that her art is an expression of the common bonds of Chicano culture as well as her “continued search to define” herself. Many artist/teachers are continually conflicted in their struggle to be effective and compassionate teachers and, at the same time, to compete successfully in a demanding art world. Maria Almeida Natividad has built an identity that successfully integrates these two dimensions of her life. She works with materials such as watercolor, foamcore, and Prismacolor pencils that are mainstays in high school and college art programs. She chooses subject matter that validates and celebrates her student’s, parent’s, and community’s values. At life size, the viewer experiences Christina much as Maria experiences her students on a day-to-day basis. The rose at the feet of the almost defiant girl suggests a sweetness and vulnerability that few adolescents are willing to share with adults but that the best teachers find, nurture, and cherish.”
Mexican American Cultural Center, Courtesy of the Artist
Detail of larger installation, “Four Stages of Life”
Narrative courtesy of Mary Erickson, “Contemporary Chicana and Chicano Art”, Vol. 1, Bilingual Press: Hispanic Research Center-Arizona State University, 2002, p.32-33
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Christina
1994
acuarela, lápiz prismacolor
"Christina" es una de las cuatro figuras que componen la instalación "Cuatro etapas de la vida" de María. En Christina, María Almeida Natividad no eligió representar a una joven celebrando su quinceañera, sino que optó por mostrar a una adolescente con una imagen más contemporánea. La abundancia de cabello ondulado de Christina cae en cascada sin apretar en lugar de estar atado a un peinado tradicional. Su forma de vestir no es de encaje, volantes y colores pastel, sino contemporánea, urbana y casual. Su postura es confiada y decidida, no recatadamente femenina. María Almeida Natividad afirma que su arte es una expresión de los lazos comunes de la cultura chicana, así como de su "continua búsqueda para definirse" a sí misma. Muchos artistas/maestros están continuamente en conflicto en su lucha por ser maestros efectivos y compasivos y, al mismo tiempo, por competir con éxito en un mundo artístico exigente. María Almeida Natividad ha construido una identidad que integra con éxito estas dos dimensiones de su vida. Trabaja con materiales como la acuarela, el foamcore y los lápices Prismacolor que son pilares en los programas de arte de la escuela secundaria y la universidad. Ella elige temas que validan y celebran los valores de sus estudiantes, padres y la comunidad. A tamaño real, el espectador experimenta a Christina de la misma manera que María experimenta a sus estudiantes en el día a día. La rosa a los pies de la niña casi desafiante sugiere una dulzura y vulnerabilidad que pocos adolescentes están dispuestos a compartir con los adultos, pero que los mejores maestros encuentran, nutren y aprecian".
Centro Cultural México-Americano, cortesía de la artista
Detalle de una instalación más grande, "Cuatro Etapas de la Vida"
Narración cortesía de Mary Erickson, "Contemporary Chicana and Chicano Art", Vol. 1, Bilingual Press: Hispanic Research Center-Arizona State University, 2002, p.32-33
HTMLText_605E85D3_5179_C514_41B8_F58ABAF01EA4.html = El Paso History-Lower Valley Pride
2006
acrylic
Maria Almeida Natividad celebrates her culture by conveying through her artwork the importance of traditions in nurturing fundamental values and meaningful connections. Natividad is enchanted with her native homeland of El Paso, Texas, where the vibrant colors in desert plants, flowers, and sunsets influence her palette. Natividad has gained a reputation for the power of her public art. Among the few female muralists in El Paso, she has been involved in several community art projects, including a mural for the Judge Edward S. Marquez Branch Library dedicated in 2007. The mural, titled El Paso History-Lower Valley Pride, explores the multicultural heritage of El Paso. Natividad paints the Aztecs, the Tigua Indians, the Spanish conquistadors, missions, early settlers, traditional celebrations, and mountainous landscapes. Over the pass and down into the valley, El Paso sprawls around Mount Franklin on the border with Mexico. Natividad celebrates El Paso as a city that mixes Native American, Spanish, Anglo, and Mexican cultures in its populace, architecture, culture and art. She includes renderings of the region’s elegant Spanish missions, which continue as living testaments to the history and blending of El Paso cultures. “The library mural is a history lesson, a geographic view, and an honoring of the diversity in the community”, Natividad says. “The figures in the mural are painted in a variety of colorful hues and reveal the cultural dimensions of the people and land.” At the heart of the painting is a boy who is reading a book in a library. Natividad, who is also a former public school art teacher and former community college art faculty member, has dedicated her life to teaching others about their cultures.
Mexican American Cultural Center, Courtesy of the Artist
(Print) Original mural (15 ft. x 6ft.) located in the Judge Edward S. Marquez Branch Library
Narrative courtesy of Kippra D. Hopper, Laurie J. Churchill. “Art of West Texas Women”, Texas Tech University Press, 2010, p.41-42
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Historia de El Paso-Orgullo del Valle Bajo
2006
acrílico
María Almeida Natividad celebra su cultura transmitiendo a través de sus obras de arte la importancia de las tradiciones en el fomento de valores fundamentales y conexiones significativas. Natividad está encantada con su tierra natal de El Paso, Texas, donde los colores vibrantes de las plantas del desierto, las flores y las puestas de sol influyen en su paleta. Natividad se ha ganado una reputación por el poder de su arte público. Entre las pocas mujeres muralistas en El Paso, ha estado involucrada en varios proyectos de arte comunitario, incluido un mural para la Biblioteca del Juez Edward S. Márquez dedicado en 2007. El mural, titulado El Paso History-Lower Valley Pride, explora la herencia multicultural de El Paso. Natividad pinta a los aztecas, los indios Tigua, los conquistadores españoles, las misiones, los primeros pobladores, las celebraciones tradicionales y los paisajes montañosos. Sobre el paso y hacia el valle, El Paso se extiende alrededor del Monte Franklin en la frontera con México. Natividad celebra a El Paso como una ciudad que mezcla las culturas nativas americanas, españolas, anglosajonas y mexicanas en su población, arquitectura, cultura y arte. Incluye representaciones de las elegantes misiones españolas de la región, que continúan como testimonios vivos de la historia y la mezcla de las culturas de El Paso. "El mural de la biblioteca es una lección de historia, una visión geográfica y un homenaje a la diversidad de la comunidad", dice Natividad. "Las figuras del mural están pintadas en una variedad de tonos coloridos y revelan las dimensiones culturales de la gente y la tierra". En el corazón de la pintura hay un niño que está leyendo un libro en una biblioteca. Natividad, quien también fue maestra de arte en una escuela pública y miembro de la facultad de arte del colegio comunitario (Community College), ha dedicado su vida a enseñar a otros sobre sus culturas.
Centro Cultural México-Americano, cortesía de la artista
(Imprimir) Mural original (15 pies x 6 pies) ubicado en la Biblioteca Sucursal del Juez Edward S. Márquez
Narración cortesía de Kippra D. Hopper, Laurie J. Churchill. "El arte de las mujeres del oeste de Texas", Texas Tech University Press, 2010, p.41-42
HTMLText_60BF6566_5179_C53C_41C7_74208B0A81ED.html = Eli en la Panaderia
2001
watercolor, prismacolor pencil
Pan dulce, or sweet bread, originated in Mexico following the introduction of wheat during the Spanish conquest of the Americas. It developed into many varieties thanks to French influences in the mid 1800s when Maximilian and Carlota settled in Mexico bringing European fashion and cuisine. During the early 20th century, the creative contribution of French baked goods to Mexico's cuisine peaked during the dictatorship of Porfirio Díaz. He had a great admiration for French culture and during his tenure, French chefs and cooks arrived in the country bringing their way of cooking, techniques, preparations, and dishes. Skilled Mexican bakers adopted French techniques and created new bread designs with colorful names and thus the traditional pan dulce was born. Today there are more than 200 different types of Pan Dulce in Mexico. The love for Pan Dulce con café is not just a Mexican tradition but goes beyond the border and panaderías can be found in most American cities with a large Hispanic population. Cultural practices that are familiar to us all are also strong influences in my art and inspire my creativity. In this narrative painting, one can practically smell the delicious aroma of the pan dulce, feel the warmth of the bakery, and almost taste the empanadas. In viewing this painting, your mind becomes flooded with memories of the past, pleasant memories of days gone by but not forgotten.
“Remember when Abuelito would wake up and all he wanted was his café con pan dulce for breakfast? Michael loved maranitos with his strong cup of coffee and Nick’s favorite were the conchas. Empanadas were Abuelitas choice made from apple or quince. And the little kids loved the churros and polvorones. For Christmas, Tia Mary always gave every family buñuelos. Then we would get Pan de Muertos for All Saints Day and the Rosca de Reyes for the holidays. Qué sabroso es el pan dulce y qué rica es nuestra cultura!”
Mexican American Cultural Center, Courtesy of Dr. Toribio & Jackie Natividad
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Eli en la Panaderia
2001
acuarela, lápiz prismacolor
El pan dulce se originó en México tras la introducción del trigo durante la conquista española de las Américas. Se desarrolló en muchas variedades gracias a las influencias francesas a mediados de 1800 cuando Maximiliano y Carlota se establecieron en México, trayendo la moda y la cocina europeas. A principios del siglo XX, la contribución creativa de los productos horneados franceses a la cocina mexicana alcanzó su punto máximo durante la dictadura de Porfirio Díaz. Tenía una gran admiración por la cultura francesa y durante su mandato, los chefs y cocineros franceses llegaron al país trayendo su forma de cocinar, técnicas, preparaciones y platos. Hábiles panaderos mexicanos adoptaron técnicas francesas y crearon nuevos diseños de pan con nombres coloridos y así nació el tradicional pan dulce. Hoy en día existen más de 200 tipos diferentes de Pan Dulce en México. El amor por el Pan Dulce con café no es solo una tradición mexicana, sino que va más allá de la frontera, y las panaderías se pueden encontrar en la mayoría de las ciudades estadounidenses con una gran población hispana. Las prácticas culturales que nos son familiares a todos también son fuertes influencias en mi arte e inspiran mi creatividad. En este cuadro narrativo se puede oler prácticamente el delicioso aroma del pan dulce, sentir la calidez de la panadería y casi saborear las empanadas. Al ver esta pintura, su mente se inunda de recuerdos del pasado, recuerdos agradables de días pasados pero no olvidados.
"¿Recuerdas cuando Abuelito se despertaba y lo único que quería era desayunar su café con pan dulce? A Michael le encantaban los maranitos con su taza de café fuerte y el favorito de Nick eran las conchas. Las empanadas eran la elección de Abuelitas hechas de manzana o membrillo. Y a los niños les encantaron los churros y polvorones. Para Navidad, Tía María siempre regalaba buñuelos a cada familia. Luego tendríamos Pan de Muerto para el Día de Todos los Santos y la Rosca de Reyes para las fiestas. ¡Qué sabroso es el pan dulce y qué rica es nuestra cultura!"
Centro Cultural México-Americano, Cortesía del Dr. Toribio y Jackie Natividad
HTMLText_60A0D5BD_5179_C50C_41D0_040812CC53B7.html = Enoch
2001
watercolor, prismacolor pencil
This mixed media portrait attempts to reveal and question commonly held beliefs and assumptions about stereotypes. It also challenges the viewer to react to the image, to realize their thoughts and impressions as they view the image and to engage in a dialogue with the painting. In this painting, my goal was to have the viewer look beyond the surface and to see the human element present beneath the tough exterior. I am fascinated by the uniqueness and diversity of our culture, and I try to describe and reveal the humanity of each person without being judgmental but rather taking the position of cultural chronicler. The subject of this painting, Enoch, is a kind and gentle person with a love of family and friends. Initially, I was going to do a painting of him holding and playing with his sister’s kitten. It was so interesting to see this strong muscular young man treating the kitten with such gentleness and playfulness. After much contemplation, I decided to leave the kitten out of the composition and instead have the figure looking directly at the viewer as if he is having a personal conversation with the viewer. His stance is formidable but looking at his face you get a sense that this person has distinguishing aspects and attributes not easily identifiable by his outward appearance. I chose not to add a background to the figure instead letting the figure itself command all the attention from the viewer. I utilized a layering of transparent watercolor then applying more layers of Prismacolor pencil in curved and sinuous strokes to accentuate the muscular characteristics of the figure. It was like sculpting the figure not from clay but through thoughtful and deliberate strokes of colored lines.
Mexican American Cultural Center, Courtesy of the Artist
(Print) Original in the Collection of Dr. Gary Keller, Hispanic Research Center-Arizona State University
Narrative courtesy of the artist
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Enoch
2001
acuarela, lápiz prismacolor
Este retrato de técnica mixta intenta revelar y cuestionar las creencias y suposiciones comunes sobre los estereotipos. También desafía al espectador a reaccionar a la imagen, a darse cuenta de sus pensamientos e impresiones al ver la imagen y a entablar un diálogo con la pintura. En esta pintura, mi objetivo era que el espectador mirara más allá de la superficie y viera el elemento humano presente debajo del duro exterior. Me fascina la singularidad y diversidad de nuestra cultura, y trato de describir y revelar la humanidad de cada persona sin ser crítico, sino más bien tomando la posición de cronista cultural. El sujeto de esta pintura, Enoc, es una persona amable y gentil que ama a la familia y los amigos. Inicialmente, iba a hacer una pintura de él sosteniendo y jugando con el gatito de su hermana. Fue muy interesante ver a este joven fuerte y musculoso tratando al gatito con tanta gentileza y alegría. Después de mucha contemplación, decidí dejar al gatito fuera de la composición y, en su lugar, hacer que la figura mirara directamente al espectador como si estuviera teniendo una conversación personal con el espectador. Su postura es formidable, pero al mirar su rostro se tiene la sensación de que esta persona tiene aspectos y atributos distintivos que no son fácilmente identificables por su apariencia externa. Elegí no agregar un fondo a la figura, sino dejar que la figura en sí misma acaparara toda la atención del espectador. Utilicé una capa de acuarela transparente y luego apliqué más capas de lápiz Prismacolor en trazos curvos y sinuosos para acentuar las características musculares de la figura. Era como esculpir la figura, no de arcilla, sino a través de trazos reflexivos y deliberados de líneas de colores.
Centro Cultural México-Americano, cortesía de la artista
(Imprimir) Original en la Colección del Dr. Gary Keller, Centro de Investigación Hispana-Universidad Estatal de Arizona
Narración cortesía de la artista
HTMLText_60B52583_5179_C5F4_41D2_177B3DDBCCAE.html = La Charra
2023
watercolor, prismacolor pencil
Mexican charro culture celebrates horsemanship and charro costumes as part of the country’s colorful heritage. Charros have helped form Mexican identity for over 500 years, from the arrival of the Spanish with their horses to Mexico’s independence to the present. Skilled horse riders test themselves in competitions called charreadas, covering everything from lasso work to jumping onto wild mares. Conquistadores from Spain brought something new to a colonized land, which, over time, the local population converted into something undeniably and uniquely Mexican. The Mexican charro culture came from the Spanish introducing horses to the country. Nowadays, it speaks of the Mexican cowboy, horsemanship, and remarkable clothing that puts it at the heart of Mexican identity. Charros are skilled horsemen and, more recently, women called charras have also become part of the tradition. The “charro” has become a traditional symbol of Mexican culture and pride.
“Every year Mexican Independence Day is celebrated on September 16. That date is a symbol of the struggle and courage of the Mexican people in their search for liberty and autonomy. Throughout Mexico, it is celebrated with parades with folkloric dances of Mexico and Mexican Charros (Cowboys), including young ladies on horseback.”
Mexican American Cultural Center, Courtesy of Dr. Nicholas & Michelle Natividad
Narrative courtesy of the artist
Descriptive paragraph by Mary Wilson
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La Charra
2023
acuarela, lápiz prismacolor
La cultura charra mexicana celebra la equitación y los trajes de charro como parte del colorido patrimonio del país. Los charros han ayudado a formar la identidad mexicana durante más de 500 años, desde la llegada de los españoles con sus caballos a la independencia de México hasta el presente. Los jinetes expertos se ponen a prueba en competencias llamadas charreadas, que cubren todo, desde el trabajo con lazo hasta saltar sobre yeguas salvajes. Los conquistadores de España trajeron algo nuevo a una tierra colonizada, que, con el tiempo, la población local convirtió en algo innegable y exclusivamente mexicano. La cultura charra mexicana proviene de los españoles que introdujeron los caballos al país. Hoy en día, se habla del vaquero mexicano, de la equitación y de una vestimenta notable que lo pone en el corazón de la identidad mexicana. Los charros son hábiles jinetes y, más recientemente, las mujeres llamadas charras también se han convertido en parte de la tradición. El charro se ha convertido en un símbolo tradicional de la cultura y el orgullo mexicano.
"Todos los años se celebra el Día de la Independencia de México el 16 de septiembre. Esa fecha es un símbolo de la lucha y el coraje del pueblo mexicano en su búsqueda de libertad y autonomía. En todo México, se celebra con desfiles con danzas folclóricas de México y Charros Mexicanos (Vaqueros), incluyendo señoritas a caballo".
Centro Cultural México-Americano, Cortesía del Dr. Nicholas y Michelle Natividad
Narración cortesía de la artista
Párrafo descriptivo de Mary Wilson
HTMLText_60B9A56D_5179_C50C_41B8_202ED31D89F6.html = La Navidad
2010
watercolor, prismacolor pencil
Memories and experiences from my childhood present an intimate and personal source for artistic expression. These images not only speak of my experiences but signify the collective memories that represent the everyday events and celebrations of the Chicano/Latino community. Important traditions celebrating life, family, faith and culture were the foundations of my youth. The piñatas, quinceñeras, bodas, bautismos, fiestas and reuniones familiares and even to the smell of tamales drifting through our home during the holidays are warm memories that I will always cherish. I remember many traditions from my youth and storytelling was an important custom when I was growing up. During family reunions we would listen to our elders tell stories of the past; how my maternal grandfather, Papa Bel, was kidnapped by Pancho Villa, and my paternal grandfather, Abuelito Almeida helped to build the Hoover Dam. We heard stories of uncles and brothers going to war in Europe during WWII and Vietnam to protect us and to serve our country. We listened to oral histories of various family members as farmers, ranchers, teachers, soldiers, businessmen, bankers, community leaders, carpenters, painters and artists. My artwork is an attempt to continue the storytelling tradition through visual images that speak about our culture, our shared memories, our ancestors and the imprints they left on our hearts. It is my way of honoring our ancestors, giving light to the past and showing gratitude for our inheritance. Our youth face many challenges today and they have many distractions, yet they have demonstrated that they will not allow our culture to be forgotten or dismissed. They are reclaiming their culture and traditions showing pride of who they are and of the contributions our culture has made to the world.
Mexican American Cultural Center, Courtesy of Alex & Mary Diaz de Leon
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La Navidad
2010
acuarela, lápiz prismacolor
Los recuerdos y experiencias de mi infancia presentan una fuente íntima y personal de expresión artística. Estas imágenes no solo hablan de mis experiencias, sino que significan las memorias colectivas que representan los eventos y celebraciones cotidianas de la comunidad chicana/latina. Importantes tradiciones que celebran la vida, la familia, la fe y la cultura fueron los cimientos de mi juventud. Las piñatas, quinceañeras, bodas, bautismos, fiestas y reuniones familiares e incluso el olor de los tamales que flotan en nuestra casa durante las fiestas son recuerdos cálidos que siempre atesoraré. Recuerdo muchas tradiciones de mi juventud y contar cuentos era una costumbre importante cuando era niña. Durante las reuniones familiares escuchábamos a nuestros mayores contar historias del pasado; cómo mi abuelo materno, Papá Bel, fue secuestrado por Pancho Villa, y mi abuelo paterno, Abuelito Almeida, ayudó a construir la presa Hoover. Escuchamos historias de tíos y hermanos que fueron a la guerra en Europa durante la Segunda Guerra Mundial y en Vietnam para protegernos y servir a nuestro país. Escuchamos historias orales de varios miembros de la familia como agricultores, ganaderos, maestros, soldados, empresarios, banqueros, líderes comunitarios, carpinteros, pintores y artistas. Mi obra es un intento de continuar la tradición de contar historias a través de imágenes visuales que hablan de nuestra cultura, nuestros recuerdos compartidos, nuestros antepasados y las huellas que dejaron en nuestros corazones. Es mi forma de honrar a nuestros antepasados, dar luz al pasado y mostrar gratitud por nuestra herencia. Nuestros jóvenes enfrentan muchos desafíos hoy en día y tienen muchas distracciones, sin embargo, han demostrado que no permitirán que nuestra cultura sea olvidada o descartada. Están reclamando su cultura y tradiciones, mostrando orgullo de quiénes son y de las contribuciones que nuestra cultura ha hecho al mundo.
Centro Cultural México-Americano, Cortesía de Alex y Mary Díaz de León
HTMLText_60BA857B_5179_C514_417C_9DE4E2A899FF.html = Las Hermanas
2000
watercolor
Each culture has treasures found in their traditions, language, food, music, dance and customs. Our Mexican American, Hispanic, Latino, Chicano culture, call it as you may, is rich in cultural treasures. One of them is the celebration of the culture through dance and music and the delightful experience of the folklorico tradition. These two beautiful sisters are engaged in preparation for their next baile folklórico dance performance and are eager to share their love of the dance with others. The painting does not represent the two sisters in a formal conventional pose but rather in a normal gesture of helping each other in preparation for the dance. The rich colors of blue, purple and pink in the dresses combined with the white lace trim give the work a soft energy and is symbolic of the colors of springtime. These young dancers are continuing the traditions of our ancestors and giving voice to those that came before us and honoring their past, present and future with memorable song and dance. This painting is a celebration of the beauty of our youth and our traditions.
Mexican American Cultural Center, Courtesy of Alex & Mary Diaz de Leon
Narrative courtesy of artist, featured in La Prensa Texas publication, Vol. 4 No. 37, September 12, 2021.
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Las Hermanas
2000
acuarela
Cada cultura tiene tesoros que se encuentran en sus tradiciones, idioma, comida, música, danza y costumbres. Nuestra cultura mexicoamericana, hispana, latina y chicana, llámenla como quieran, es rica en tesoros culturales. Una de ellas es la celebración de la cultura a través de la danza y la música y la deliciosa experiencia de la tradición folclórica. Estas dos hermosas hermanas están ocupadas en la preparación de su próximo espectáculo de baile folclórico y están ansiosas por compartir su amor por el baile con los demás. La pintura no representa a las dos hermanas en una pose formal convencional, sino más bien en un gesto normal de ayudarse mutuamente en preparación para el baile. Los ricos colores azul, morado y rosa de los vestidos, combinados con los adornos de encaje blanco, dan a la obra una energía suave y simbolizan los colores de la primavera. Estos jóvenes bailarines continúan las tradiciones de nuestros antepasados y dan voz a los que nos precedieron y honran su pasado, presente y futuro con canciones y bailes memorables. Esta pintura es una celebración de la belleza de nuestra juventud y nuestras tradiciones.
Centro Cultural México-Americano, Cortesía de Alex y Mary Díaz de León
Narración cortesía de la artista, presentada en la publicación La Prensa Texas, Vol. 4 No. 37, 12 de septiembre de 2021.
HTMLText_6081855F_5179_C50C_41CF_456BF7ED3322.html = Menudo-Breakfast of Champions
2009
watercolor, prismacolor pencil
In Mexican cuisine, Menudo is a traditional Mexican soup made with tripe (cow’s stomach) and posole (hominy) and cooked in a broth with a red chili pepper base. Lime, onions and oregano are used to season the broth and toasted, francesitos (buttered French bread) is an additional compliment to the dish. It is served at family gatherings all year long but mostly in the cold seasons to warm the body or as a cure for a night of too much celebration. It is as familiar to the culture as Lucha Libre. The concept for the Menudo painting came about when I was shopping in the cereal section of the grocery store and noticed that the Wheaties cereal boxes had famous sports figures. I looked at the various cereal boxes and wondered why not a Lucha Libre fighter on the box and Menudo instead of dry cereal inside. A hot bowl of Menudo or posole on a cold winter’s morning is certainly a favorite in this area of the Southwest. I decided to take artistic license and reconstructed the cereal box to represent a traditional food that is well known on both sides of the border. I kept the orange color of the cereal box but changed all the other aspects of the iconic cereal box, a popular corporate American breakfast food. I used a mixed media technique of watercolor and Prismacolor pencils to create the image. The company name became Chicano Food Company, and the net weight was 20.10 oz. a commemoration to the year of the Mexican Revolution. The famous athlete or Mexican superhero on the design is a Lucha Libre figure wearing a belt that says Campeón Mundial (World Champeon). I composed the various design elements to sit on top of a colorful Mexican sarape and named the new and savory cereal, “Menudo-Breakfast of Champions”. Who doesn’t like menudo, right?
Mexican American Cultural Center, Courtesy of the Artist
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Menudo-Desayuno de Campeones
2009
acuarela, lápiz prismacolor
En la cocina mexicana, El menudo es una sopa tradicional mexicana preparada con estómago de res y maíz cacahuazintle, cocido en un caldo a base de chile rojo. Limón, cebolla y orégano realzan el sabor del caldo, mientras que los francesitos (pan francés con mantequilla) se sirven como acompañamiento Se sirve en reuniones familiares durante todo el año, pero sobre todo en las estaciones frías para calentar el cuerpo o como cura para una noche de demasiada celebración. Es tan familiar a la cultura como la Lucha Libre. El concepto de la pintura Menudo surgió estando en la sección de cereales de una tienda de abarrotes y noté que las cajas de cereal Wheaties tenían figuras deportivas famosas. Miré las diversas cajas de cereal y me pregunté por qué no un luchador de Lucha Libre en la caja y Menudo en lugar de cereal seco. Un tazón caliente de menudo o pozole en una fría mañana de invierno es sin duda uno de los favoritos en esta área del suroeste. Decidí hacer uso de mi licencia artística y reconstruí la caja de cereales para representar una comida tradicional que es bien conocida en ambos lados de la frontera. Mantuve el color naranja de la caja de cereal, pero cambié todos los demás aspectos de la icónica caja de cereal, un popular alimento estadounidense para el desayuno. Utilicé una técnica mixta de acuarela y lápices Prismacolor para crear la imagen. El nombre de la compañía se convirtió en Chicano Food Company, y el peso neto fue de 20.10 onzas, en conmemoración del año de la Revolución Mexicana. El famoso atleta o superhéroe mexicano en el diseño es una figura de Lucha Libre con un cinturón que dice Campeón Mundial. Compuse los diversos elementos de diseño para que se sentaran encima de un colorido sarape mexicano y llamé al nuevo y sabroso cereal, "Menudo-Desayuno de Campeones". ¿A quién no le gusta el menudo, verdad?
Centro Cultural México-Americano, cortesía de la artista
HTMLText_6087A558_5179_C514_4169_146AA5421B96.html = Mother and Child
1998
watercolor, prismacolor pencil
Family is another theme that has great significance to me as an artist.Women in our culture are usually the healers, the makers, the guardians of the faith and the teachers. Their roles center on relationships with their spouses, children, extended family members and community members. Thus, as did the abuelitas of the past, women are still entrusted with teaching values through the oral traditions of storytelling, sayings, songs and family histories. I use this type of visual narration to capture those values that are so meaningful and so important to our culture that I wish to encourage and pass them on to the next generation or we risk losing them. In this mixed media painting I wanted to demonstrate the warm relationship between the mother and the child. The mother has her head slightly tilted with her gaze on the child and a soft smile on her face. She is holding the child gently and the child is looking directly at the viewer. The mother is wearing a white blouse with colorful flowers representing hope and love and the child is dressed in yellow symbolizing faith, joy, and life. Women of the XXI century, have renegotiated the domestic and community roles that they play as they become more educated, independent, skilled and confident. As we migrate back and forth across borders, across languages, and across identities, (mother, teacher, etc.,) we become more cognizant of the responsibility we have to our children and our community. We recognize the treasures of our ancestors and entrust them to our heirs. We acknowledge the diverse cultures on this earth, and we recognize that through mutual respect and appreciation of all cultures, that child in the yellow dress and all our children will have a peaceful future.
Mexican American Cultural Center, Courtesy of Alex and Mary Diaz de Leon
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Madre e Hijo
1998
acuarela, lápiz prismacolor
La familia es otro tema que tiene un gran significado para mí como artista. Las mujeres en nuestra cultura suelen ser las sanadoras, las creadoras, las guardianas de la fe y las maestras. Sus funciones se centran en las relaciones con sus cónyuges, hijos, miembros de la familia extendida y miembros de la comunidad. Así, al igual que las abuelitas del pasado, a las mujeres se les sigue confiando la enseñanza de valores a través de las tradiciones orales de la narración de cuentos, dichos, canciones e historias familiares. Utilizo este tipo de narración visual para capturar esos valores que son tan significativos y tan importantes para nuestra cultura que deseo alentarlos y transmitirlos a la próxima generación o corremos el riesgo de perderlos. En esta pintura de técnica mixta quería mostrar la cálida relación entre la madre y el niño. La madre tiene la cabeza ligeramente inclinada con la mirada puesta en el niño y una suave sonrisa en su rostro. Ella está sosteniendo al niño suavemente y el niño está mirando directamente al espectador. La madre lleva una blusa blanca con flores de colores que representan la esperanza y el amor y el niño está vestido de amarillo que simboliza la fe, la alegría y la vida. Las mujeres del siglo XXI han renegociado los roles domésticos y comunitarios que desempeñan a medida que se vuelven más educadas, independientes, capacitadas y seguras de sí mismas. A medida que migramos de un lado a otro a través de las fronteras, los idiomas y las identidades (madre, maestra, etc.), nos volvemos más conscientes de la responsabilidad que tenemos para con nuestros hijos y nuestra comunidad. Reconocemos los tesoros de nuestros antepasados y los confiamos a nuestros herederos. Reconocemos las diversas culturas en esta tierra, y reconocemos que a través del respeto mutuo y el aprecio de todas las culturas, ese niño del vestido amarillo y todos nuestros niños tendrán un futuro pacífico.
Centro Cultural México-Americano, Cortesía de Alex y Mary Díaz de León
HTMLText_60A5F5A7_5179_C53C_41C1_197270A03C97.html = Mount Cristo Rey
2015
watercolor, ink, prismacolor pencil
One of El Paso’s most famous landmarks is Mount Cristo Rey. It is a 29-foot-tall limestone statue of Jesus Christ that overlooks the borders of Texas, New Mexico and Mexico. This statue unites two countries through faith. The statue serves as a shrine to thousands of faithful people in the El Paso and Southern New Mexico area. The idea to erect a monument at the summit of the mountain was envisioned by a local parish priest named Father Lourdes Costa. World famous sculptor Urbici Soler was commissioned to construct the monument, and it was dedicated on October 17, 1940. The entire monument stands 42 feet high, making it one foot higher than the famous Christ of the Andes sculpture in Brazil.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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Menudo-Desayuno de Campeones
2009
acuarela, tints, lápiz prismacolor
Uno de los monumentos más famosos de El Paso es el Monte Cristo Rey. Es una estatua de piedra caliza de 29 pies de altura de Jesucristo que domina las fronteras de Texas, Nuevo México y México. Esta estatua une a dos países a través de la fe. La estatua sirve como santuario para miles de personas fieles en el área de El Paso y el sur de Nuevo México. La idea de erigir un monumento en la cima de la montaña fue concebida por un párroco local llamado Padre Lourdes Costa. El escultor de fama mundial Urbici Soler fue el encargado de construir el monumento, que fue inaugurado el 17 de octubre de 1940. Todo el monumento tiene 42 pies de altura, lo que lo hace un pie más alto que la famosa escultura del Cristo Redentor en Brasil.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_60B6D58A_5179_C5F4_41BB_E674145CBDA3.html = Nick
2008
watercolor, prismacolor pencil
The automobile is an iconic symbol of American culture and history. Within Chicano culture, old classic cars are popular, iconic and considered not just instruments for mobility but are re-fashioned machines with aesthetic appeal and artistic craftsmanship. Both my father and grandfather had handsome old classic cars and our son continues this tradition with his love and appreciation of old classic cars and trucks. “Nick” is a painting of my son with his 1953 Chevy truck painted with watercolors and Prismacolor pencils. As I worked on the painting, I wondered about what travels this handsome old truck had taken and what stories it could tell. I wanted the painting to have a feeling of a relaxing warm summer day reminiscent of days gone by. In designing the painting, I spent much time studying the shape of the truck and the thinking about how to best illustrate the beauty of this ageless icon through a simple but forceful rendering using my favorite media, watercolor. I selected this viewpoint to showcase both the front and the side of the truck in order to focus on the curves of the chrome bumper, the grill, the hood and the side-step. Curved watercolor brush strokes and curved pencil lines on the body of the car introduce movement to this otherwise static composition. The warm browns of the standing figure were utilized to contrast with the car’s rich, cool blue-black metallic surface. I wanted to convey a feeling of strength in both the classic truck and the young man leaning against it. Old classic cars and trucks are remnants of the past that remind us of good times, family, tradition and the importance of appreciating our past and our heritage.
Mexican American Cultural Center, Courtesy of Dr. Nicholas & Michelle Natividad
Narrative courtesy of artist, featured in La Prensa Texas publication, Vol. 4 No. 40, October 3, 2021.
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Nick
2008
acuarela, lápiz prismacolor
El automóvil es un símbolo icónico de la cultura y la historia estadounidenses. Dentro de la cultura chicana, los viejos autos clásicos son populares, icónicos y considerados no solo instrumentos para la movilidad, sino que son máquinas remodeladas con atractivo estético y artesanía artística. Tanto mi padre como mi abuelo tenían hermosos autos clásicos antiguos y nuestro hijo continúa esta tradición con su amor y aprecio por los autos y camiones clásicos. "Nick" es una pintura de mi hijo con su camioneta Chevy de 1953 pintada con acuarela y lápices Prismacolor. Mientras trabajaba en la pintura, me preguntaba qué viajes había hecho este hermoso camión viejo y qué historias podría contar. Quería que la pintura tuviera la sensación de un relajante y cálido día de verano que recordaba a días pasados. Al diseñar la pintura, pasé mucho tiempo estudiando la forma del camión y pensando en cómo ilustrar mejor la belleza de este ícono eterno a través de una representación simple pero contundente usando mi medio favorito, la acuarela. Elegí este punto de vista para mostrar tanto la parte delantera como la lateral de la camioneta con el fin de centrarme en las curvas de la defensa cromada, la parrilla, el capacete y el estribo lateral. Las pinceladas curvas de acuarela y las líneas curvas de lápiz en la carrocería del automóvil introducen movimiento a esta composición estática. Los marrones cálidos de la figura de pie se utilizaron para contrastar con la rica y fría superficie metálica azul-negra del automóvil. Quería transmitir una sensación de fuerza tanto en el camión clásico como en el joven apoyado en él. Los viejos autos y camiones clásicos son vestigios del pasado que nos recuerdan los buenos tiempos, la familia, la tradición y la importancia de apreciar nuestro pasado y nuestra herencia.
Centro Cultural México-Americano, Cortesía del Dr. Nicholas y Michelle Natividad
Narración cortesía de la artista, presentada en la publicación La Prensa Texas, Vol. 4 No. 40, 3 de octubre de 2021.
HTMLText_60B07591_5179_C514_41D2_6C1B1E7AF547.html = Rio Grande
2010
watercolor, prismacolor pencil
The Rio Grande is considered one of the important rivers in the world and is a fundamental factor in the history of El Paso and the Southwest. It is also known as the Rio Bravo and begins in the mountains of southern Colorado and extends about 1,800 miles south. The river flows south through New Mexico and travels between the Franklin Mountains and the Sierra de Juárez then it reaches the El Paso region. The river was an oasis for the many early explorers and settlers and made it possible for them to survive in the desert. The Treaty of Guadalupe Hidalgo in 1848 ended the U.S.-Mexican War and made the river the official international boundary between Mexico and the United States.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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Rio Grande
2010
acuarela, lápiz prismacolor
El Río Grande es considerado uno de los ríos más importantes del mundo y es un factor fundamental en la historia de El Paso y el Suroeste. También se le conoce como Río Bravo y comienza en las montañas del sur de Colorado y se extiende unas 1,800 millas al sur. El río fluye hacia el sur a través de Nuevo México y viaja entre las montañas Franklin y la Sierra de Juárez, luego llega a la región de El Paso. El río fue un oasis para los primeros exploradores y colonos, y les permitió sobrevivir en el desierto. El Tratado de Guadalupe Hidalgo en 1848 puso fin a la guerra entre Estados Unidos y México e hizo del río la frontera internacional oficial entre México y los Estados Unidos.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_60B22598_5179_C514_41C2_CACF9B617B6B.html = San Elizario Chapel
2015
watercolor, ink, prismacolor pencil
Spain established a network of presidios (military forts) to protect its’ interests in the northern frontier. The presidios included a post chapel that served the soldiers and their families. In February 1789, a presidio and chapel were established in San Elizario, originally named the Presidio Chapel San Elceario, after the French patron saint of soldiers. In 1829 a major flood destroyed the original chapel but was rebuilt and used until 1877 when the present church was built. In 1850, San Elizario was the county seat for El Paso and was one of the most important active military forts and city in the region until the railroad was built giving the city of El Paso greater importance.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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San Elizario Chapel
2015
acuarela, tinta, lápiz prismacolor
España estableció una red de presidios militares para proteger sus intereses en la frontera norte. Los presidios incluían una capilla que servía a los soldados y sus familias. En febrero de 1789, se estableció un presidio y una capilla en San Elizario, originalmente llamada Capilla del Presidio San Elceario, en honor al santo patrón francés de los soldados. En 1829, una gran inundación destruyó la capilla original, pero fue reconstruida y utilizada hasta 1877, cuando se construyó la iglesia actual. En 1850, San Elizario era la sede del condado de El Paso y fue uno de los fuertes militares activos más importantes y una ciudad de la región hasta que se construyó el ferrocarril, lo que le dio a la ciudad de El Paso una mayor importancia.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_60A755B5_5179_C51C_41CC_7CC0B11F8F4F.html = Socorro Mission
2010
metal embossing on copper
The Socorro Mission, also known as Mision de Nuestra Señora de la Purisima Conception de Socorro, was founded in 1682 by the Piros, Tanos and Jemez Native Americans from Socorro, New Mexico. The Piros and Tanos settled along the Rio Grande Valley after being displaced by the Pueblo Indian uprising in northern New Mexico. The mission was built with basic Spanish mission-style elements such as the hand carved wood roof beams (vigas in Spanish) which are a major element on the structure. A beautiful hand carved wooden statue of St. Michael brought from Mexico was placed in the mission in 1838. The Socorro Mission is the second oldest mission in the El Paso region and is still in daily use.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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Misión Socorro
2010
Relieve metálico en cobre
La Misión Socorro, también conocida como Misión de Nuestra Señora de la Purísima Concepción de Socorro, fue fundada en 1682 por los nativos americanos Piros, Tanos y Jemez de Socorro, Nuevo México. Los Piros y Tanos se asentaron a lo largo del Valle del Río Grande después de haber sido desplazados por la revuelta de los pueblos indígenas del norte de Nuevo México. La misión fue construida con elementos básicos del estilo de la misión española, como las vigas del techo de madera talladas a mano, que son un elemento importante en la estructura. Una hermosa estatua de madera tallada a mano de San Miguel traída de México fue colocada en la misión en 1838. La Misión Socorro es la segunda misión más antigua de la región de El Paso y todavía está en uso diario.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_60A845A0_5179_C534_41C7_3D0CF2B56134.html = Union Depot
20115
watercolor, ink, prismacolor pencil
The Southern Pacific was the first railroad to reach El Paso on May 13, 1881. The arrival of the railroad to El Paso brought growth, progress and security to this small town in far west Texas. Three weeks later on June 2, 1881, the first train of the Atchison Topeka and the Santa Fe Railroad also arrived and the population grew from 781 people to 1,500. With all the railways converging in El Paso, a demand for a better railroad depot was expressed by the public and in 1903 a charter was obtained, bonds were issued, and a contract was signed. In 1906, construction of a new passenger depot was completed. Today the stately Union Depot is still in service and is also used for cultural, artistic and social events.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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Estación de Ferrocarril Unión
2015
acuarela, tinta, lápiz prismacolor
El Southern Pacific fue el primer ferrocarril en llegar a El Paso el 13 de mayo de 1881. La llegada del ferrocarril a El Paso trajo crecimiento, progreso y seguridad a este pequeño pueblo en el extremo oeste de Texas. Tres semanas después, el 2 de junio de 1881, llegó el primer tren de la compañía ferroviaria Atchison, Topeka y Santa Fe, y la población creció de 781 a 1,500 habitantes. Con todos los ferrocarriles convergiendo en El Paso, el público expresó la demanda de una mejor estación ferroviaria y en 1903 se obtuvo una carta constitutiva, se emitieron bonos y se firmó un contrato. En 1906, se completó la construcción de un nuevo depósito de pasajeros. Hoy en día, el majestuoso Union Depot sigue en servicio y también se utiliza para eventos culturales, artísticos y sociales.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_60A515AE_5179_C50C_41D4_462EAB49B83A.html = Ysleta Mission
2010
metal embossing on copper
The Ysleta Mission, also known as the Church of Our Lady of Mt. Carmel, was founded in 1682 by Franciscan padres, Spanish soldiers and Tigua Native Americans who were fleeing the Indian Pueblo revolt in northern New Mexico. These Spanish refugees and the Tiguas settled along the Rio Grande Valley and started a settlement that turned the desert into farmland. El Paso was home to many indigenous people but only the Tigua Indians stayed in this region. In 1967 the state of Texas recognized them as a Texas Indian tribe and in 1987 they received federal recognition as an American Indian tribe. The Ysleta Mission is the oldest mission in Texas and second oldest active mission in the United States.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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Ysleta Mission
2010
Relieve metálico en cobre
La Misión de Ysleta, también conocida como la Iglesia de Nuestra Señora del Monte Carmelo, fue fundada en 1682 por padres franciscanos, soldados españoles y nativos americanos Tigua que huían de la revuelta de los pueblos originarios del norte de Nuevo México. Estos refugiados españoles y los Tiguas se asentaron a lo largo del Valle del Río Grande y comenzaron un asentamiento que convirtió el desierto en tierras de cultivo. El Paso fue el hogar de muchos pueblos indígenas, pero solo los indios Tigua permanecieron en esta región. En 1967 el estado de Texas los reconoció como una tribu indígena de Texas y en 1987 recibieron el reconocimiento federal como una tribu indígena americana. La Misión Ysleta es la misión más antigua de Texas y la segunda misión activa más antigua de los Estados Unidos.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_48AB1D70_51FA_4514_41D2_922DCE73C0F3.html = Gaspar Enriquez
b. 1942 – present, El Paso, Texas
Huellas de Tejas
1997
Acrylic on Foam Board (Airbrush)
The technique of airbrushing has been utilized in Chicano mediums of art to express stylistic elements of culture just as Gaspar Enriquez does in his portraits. Airbrushing provides a softness to figures in works of art creating a recognizable style popular amongst Mexican Americans.
Born in the Segundo Barrio, Gaspar Enriquez has been making an impact within the local community as an art instructor where he taught at Bowie High School. Enriquez’s portraits range from daily people who interest him to well known Mexican American figures like Rudolfo Anaya. His work has captivated the eyes of many collectors including well known Chicano Art collector Cheech Marin.
Mexican American Cultural Center, Courtesy of the Wittliff Collections
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Gaspar Enriquez
b. 1942 – presente, El Paso, Texas
Huellas de Tejas
1997
Acrilico sobre carton espuma (aerografo)
HTMLText_4B92936D_51FA_7D0C_41CE_CC2447EFAB49.html = Mago Gandara
b. 1929, El Paso, Texas
d. 2018, El Paso, Texas
The Gift Giver
No Date
Bronze
Deemed the “Georgia O’Keefe of El Paso, Texas” by Hal Marcus, Mago Gandara valorized the efforts and work of Chicana artists. Like O’Keefe, Gandara’s work went beyond the confinements of labels by creating a fusion between figurative and abstraction.
Figurative art is believed to have its origins that date back to the earliest cave drawings, where real objects and human figures were depicted, while abstract art explores the opposite through the use of shapes and gestural marks to move away from direct representation. Mago made a significant impact not only with her distinct portrayals of reality but also within the borderlands through her community murals around El Paso and the former Casa Estudio Cui art school in Juárez.
Mago’s paintings, drawings, and sculptures employ a playful figurative aesthetic, sparking curiosity about their formal structure. As you look at the sculpture from different angles, what do you notice about the characteristics of the piece?
Mexican American Cultural Center, Courtesy of Pierre Hernandez
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Mago Gandara
n. 1929, El Paso, Texas
f. 2018, El Paso, Texas
MISSING
HTMLText_1D4C9C34_6DA3_8903_41DA_BE1FAA3DBBB8.html = Más Que Muros Summer Camp
Lead Artist
Citlalic Delgado
MACC Summer Campers
Amai Kapenga, Luca Lucero, Frank Gomes, Allesandra Cartagena, Coraline Isaac, Santiago Loya, Belen Kamilah Berumen, Gabriel Bohorquez, Daniel Bohorquez, Diego Antonio Perez, Yolotzin De Tlalli, Cajeme Bizu Diaz, Josefina Villegas, Leyla Narvaez
MACC Education Team
Itzel Barraza, Camila Abbud, Ashley Nava-Monteros, Adriana Wilcox
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Campamento de verano
Más Que Muros
Artista principal
Citlalic Delgado
Campistas de verano de Macc
Amai Kapenga, Luca Lucero, Frank Gomes, Allesandra Cartagena, Coraline Isaac, Santiago Loya, Belen Kamilah Berumen, Gabriel Bohorquez, Daniel Bohorquez, Diego Antonio Perez, Yolotzin De Tlalli, Cajeme Bizu Diaz, Josefina Villegas, Leyla Narvaez
Equipo educativo de MACC
Itzel Barraza, Camila Abbud, Ashley Nava-Monteros, Adriana Wilcox
HTMLText_32605E6A_6DE5_8907_41DB_38272B088610.html = Adrian Esparza
b. 1970 - present, El Paso, Texas
Puente.
2025
sarape, wood, nails and enamel
Mexican American Cultural Center Lobby Commission
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Adrian Esparza
n. 1970 - presente, El Paso, Texas
Puente.
2025
sarape, madera, clavos y esmalte
Lobby del Centro Cultural Mexicoamericano
HTMLText_31AF9B93_6DE2_8F05_41C7_BEA851FC3408.html = Adrian Esparza
b. 1970 - present, El Paso, Texas
Puente.
2025
sarape, wood, nails and enamel
Mexican American Cultural Center Lobby Commission
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Adrian Esparza
n. 1970 - presente, El Paso, Texas
Puente.
2025
sarape, madera, clavos y esmalte
Lobby del Centro Cultural Mexicoamericano
HTMLText_6A70B365_534A_DD3C_41D3_2C2B5BA4B58A.html = Jose Villalobos
b. 1988 - present, El Paso, Texas
Diseñando Masculinidades Brown
2024
wood panel, rope, acrylic
Notice the different shapes and color tones of each sculpture as you walk around it. Does it remind you of anything familiar from this specific region? Jose Villalobos’ work brings a resonating concept of life on the border by highlighting common cultural practices and spatial elements of the Southwest.
Identifying as a Queer Fronterizo, Jose Villalobos grew up both in El Paso, Texas and Juárez where he directly confronted the impacts of machismo, inspiring his influential performance pieces and sculptural work. Villalobos describes his art as deconstructing hegemonic powers of masculinity by placing forth his narratives of both pain and resistance that resonates with many LGBTQ+ Mexicana and Mexican Americans.
Mexican American Cultural Center, Courtesy of the Artist
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Historia de El Paso-Orgullo del Valle Bajo
2006
acrílico
María Almeida Natividad celebra su cultura transmitiendo a través de
HTMLText_670BBDCA_5346_4575_41BF_170EE5C0FF4B.html = Jose Villalobos
b. 1988 - present, El Paso, Texas
Diseñando Masculinidades Brown
2024
wood panel, rope, acrylic
Notice the different shapes and color tones of each sculpture as you walk around it. Does it remind you of anything familiar from this specific region? Jose Villalobos’ work brings a resonating concept of life on the border by highlighting common cultural practices and spatial elements of the Southwest.
Identifying as a Queer Fronterizo, Jose Villalobos grew up both in El Paso, Texas and Juárez where he directly confronted the impacts of machismo, inspiring his influential performance pieces and sculptural work. Villalobos describes his art as deconstructing hegemonic powers of masculinity by placing forth his narratives of both pain and resistance that resonates with many LGBTQ+ Mexicana and Mexican Americans.
Mexican American Cultural Center, Courtesy of the Artist
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Historia de El Paso-Orgullo del Valle Bajo
2006
acrílico
María Almeida Natividad celebra su cultura transmitiendo a través de
HTMLText_03FB8BE5_6DA3_8F0D_41D4_774EC1752EDB.html = Mago Gandara
b. 1929, El Paso, Texas
d. 2018, El Paso, Texas
The Weaver
1996
Fiberglass
Mexican American Cultural Center, Courtesy of Pierre Hernandez
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Mago Gandara
n. 1929, El Paso, Texas
f. 2018, El Paso, Texas
El Southern Pacific fue el primer ferrocarril en llegar a El Paso el 13 de mayo de 1881. La llegada del ferrocarril a El Paso trajo crecimiento, progreso y seguridad a este pequeño pueblo en el extremo oeste de Texas. Tres semanas después, el 2 de junio de 1881, llegó el primer tren de la compañía ferroviaria Atchison, Topeka y Santa Fe, y la población creció de 781 a 1,500 habitantes. Con todos los ferrocarriles convergiendo en El Paso, el público expresó la demanda de una mejor estación ferroviaria y en 1903 se obtuvo una carta constitutiva, se emitieron bonos y se firmó un contrato. En 1906, se completó la construcción de un nuevo depósito de pasajeros. Hoy en día, el majestuoso Union Depot sigue en servicio y también se utiliza para eventos culturales, artísticos y sociales.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_60988891_52FB_CB14_41D3_2FB60584A378.html = El Paso History-Lower Valley Pride
2006
acrylic
María Almeida Natividad celebra su cultura transmitiendo a través d
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Historia de El Paso-Orgullo del Valle Bajo
2006
acrílico
María Almeida Natividad celebra su cultura transmitiendo a través de
HTMLText_604EC223_517A_DF34_41D3_B1D42995D263.html = Menudo-Breakfast of Champions
2009
watercolor, prismacolor pencil
In Mexican cuisine, Menudo is a traditional Mexican soup made with tripe (cow’s stomach) and posole (hominy) and cooked in a broth with a red chili pepper base. Lime, onions and oregano are used to season the broth and toasted, francesitos (buttered French bread) is an additional compliment to the dish. It is served at family gatherings all year long but mostly in the cold seasons to warm the body or as a cure for a night of too much celebration. It is as familiar to the culture as Lucha Libre. The concept for the Menudo painting came about when I was shopping in the cereal section of the grocery store and noticed that the Wheaties cereal boxes had famous sports figures. I looked at the various cereal boxes and wondered why not a Lucha Libre fighter on the box and Menudo instead of dry cereal inside. A hot bowl of Menudo or posole on a cold winter’s morning is certainly a favorite in this area of the Southwest. I decided to take artistic license and reconstructed the cereal box to represent a traditional food that is well known on both sides of the border. I kept the orange color of the cereal box but changed all the other aspects of the iconic cereal box, a popular corporate American breakfast food. I used a mixed media technique of watercolor and Prismacolor pencils to create the image. The company name became Chicano Food Company, and the net weight was 20.10 oz. a commemoration to the year of the Mexican Revolution. The famous athlete or Mexican superhero on the design is a Lucha Libre figure wearing a belt that says Campeón Mundial (World Champeon). I composed the various design elements to sit on top of a colorful Mexican sarape and named the new and savory cereal, “Menudo-Breakfast of Champions”. Who doesn’t like menudo, right?
Mexican American Cultural Center, Courtesy of the Artist
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Menudo-Desayuno de Campeones
2009
acuarela, lápiz prismacolor
En la cocina mexicana, El menudo es una sopa tradicional mexicana preparada con estómago de res y maíz cacahuazintle, cocido en un caldo a base de chile rojo. Limón, cebolla y orégano realzan el sabor del caldo, mientras que los francesitos (pan francés con mantequilla) se sirven como acompañamiento Se sirve en reuniones familiares durante todo el año, pero sobre todo en las estaciones frías para calentar el cuerpo o como cura para una noche de demasiada celebración. Es tan familiar a la cultura como la Lucha Libre. El concepto de la pintura Menudo surgió estando en la sección de cereales de una tienda de abarrotes y noté que las cajas de cereal Wheaties tenían figuras deportivas famosas. Miré las diversas cajas de cereal y me pregunté por qué no un luchador de Lucha Libre en la caja y Menudo en lugar de cereal seco. Un tazón caliente de menudo o pozole en una fría mañana de invierno es sin duda uno de los favoritos en esta área del suroeste. Decidí hacer uso de mi licencia artística y reconstruí la caja de cereales para representar una comida tradicional que es bien conocida en ambos lados de la frontera. Mantuve el color naranja de la caja de cereal, pero cambié todos los demás aspectos de la icónica caja de cereal, un popular alimento estadounidense para el desayuno. Utilicé una técnica mixta de acuarela y lápices Prismacolor para crear la imagen. El nombre de la compañía se convirtió en Chicano Food Company, y el peso neto fue de 20.10 onzas, en conmemoración del año de la Revolución Mexicana. El famoso atleta o superhéroe mexicano en el diseño es una figura de Lucha Libre con un cinturón que dice Campeón Mundial. Compuse los diversos elementos de diseño para que se sentaran encima de un colorido sarape mexicano y llamé al nuevo y sabroso cereal, "Menudo-Desayuno de Campeones". ¿A quién no le gusta el menudo, verdad?
Centro Cultural México-Americano, cortesía de la artista
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xxxx
xxxx
María Almeida Natividad celebra su cultura transmitiendo a través d
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Gloria Osuna Perez
n. 1947, Madera, California
f. 1999, El Paso, Texas
El Mandado
1998
acrílico sobre lienzo, coche sobre pedestal
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b. 1979 – present, Lawton, Oklahoma
Your Street, My Street
2025
mixed media on wood panel
Mexican American Cultural Center, Courtesy of the Artist
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Jason Lucero
n. 1979 – presente, Lawton, Oklahoma
Tu Calle, Mi Calle
2025
técnica mixta sobre panel de madera
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_E60FE810_C836_5A99_41B0_55A7BECC0A92.html = Richard Armendariz
b. 1969 – present, El Paso, Texas
Muro Hopper
2020
wood block print
Mexican American Cultural Center, Courtesy of the Artist
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Richard Armendariz
n. 1969 - presente, El Paso, Texas
Muro Hopper
2020
grabado en madera
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_E2EC82EF_C7EE_4F88_41DF_65C8365F0C63.html = 1936 Ford
1996
watercolor
In “1936 Ford” Maria Almeida Natividad touches on a subject close to her culture and to her own family. The automobile is an icon of success in America, and both Maria’s father and grandfather had “handsome old classic cars.” The artist’s apparently simple rendering of a shiny car is full of subtle treats to the eye. Her selection of a low viewpoint allows her to include three landscapes in her painting: the hills, trees, and sky that the car faces, the tiny jewel of a landscape reflected in the hubcap, and the elongated landscape that stretches like a highway along the curves of the chrome bumper. Sumptuous, swirling, wet-on-wet clouds and streamlined curves that speed around the gleaming surfaces of the car’s body introduce movement into an otherwise stable, symmetrical composition. Almeida Natividad’s painstaking rendering of metallic details contrast dramatically with the much looser technique she uses to represent the car’s natural surroundings. The warm browns of the land contrast with the harsh blue-black of automotive lacquer. The sharply defined edges of metal forms contrast with the loose brown and blue edges at the perimeter of the image. “1936 Ford” celebrates not only a classic car collector’s dream but also Almeida Natividad’s mastery of her medium.
Mexican American Cultural Center, Courtesy of the Artist
(Print) Original in the Collection of Mexi-Arte Museum, Austin, Texas
Narrative courtesy of Mary Erickson, 2002, p. 33, Contemporary Chicana and Chicano Art, Vol. 1, Published by Bilingual Press, Hispanic Research Center-Arizona State University
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Ford de 1936
1996
acuarela
En "Ford de 1936", María Almeida Natividad toca un tema cercano a su cultura y a su propia familia. El automóvil es un ícono de éxito en Estados Unidos, y tanto el padre como el abuelo de María tenían "hermosos autos clásicos antiguos". La representación aparentemente simple de la artista de un automóvil brillante está llena de sutiles delicias para la vista. Su elección de un punto de vista bajo le permite incluir tres paisajes en su pintura: las colinas, los árboles y el cielo al que se enfrenta el automóvil, la pequeña joya de un paisaje reflejada en el tapacubos y el paisaje alargado que se extiende como una autopista a lo largo de las curvas del parachoques cromado. Las nubes suntuosas, arremolinadas y mojadas sobre mojado y las curvas aerodinámicas que se aceleran alrededor de las superficies relucientes de la carrocería del automóvil introducen movimiento en una composición simétrica y estable. La minuciosa representación de los detalles metálicos de Almeida Natividad contrasta drásticamente con la técnica mucho más suelta que utiliza para representar el entorno natural del coche. Los marrones cálidos de la tierra contrastan con el negro azulado duro de la laca automotriz. Los bordes nítidamente definidos de las formas metálicas contrastan con los bordes marrones y azules sueltos en el perímetro de la imagen. "1936 Ford" celebra no solo el sueño de un coleccionista de autos clásicos, sino también el dominio de Almeida Natividad en su medio.
Centro Cultural México-Americano, cortesía de la artista
(Imprimir) Original en la Colección del Museo Mexi-Arte, Austin, Texas
Narración cortesía de Mary Erickson, 2002, p. 33, Contemporary Chicana and Chicano Art, Vol. 1, Publicado por Bilingual Press, Hispanic Research Center-Arizona State University
HTMLText_F8D31819_C83A_5A88_41E6_5A11BA19FDD3.html = Abel Saucedo
b. 1984 - present, El Paso, Texas
Boca de Ballena
2024
acrylic
Mexican American Cultural Center, Courtesy of the Artist
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Abel Saucedo
n. 1984 - present, El Paso, Texas
Boca de Ballena
2024
acrílico
Centro Cultural Mexicoamericano, Cortesía del artista
HTMLText_F8C12BC8_C83A_5D89_41DF_CF22D55A1CCC.html = Abel Saucedo
b. 1984 - present, El Paso, Texas
Nudos Rojos
2022
acrylic
Mexican American Cultural Center, Courtesy of the Artist
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Abel Saucedo
n. 1984 - presente, El Paso, Texas
Nudos Rojos
2022
acrílico
Centro Cultural Mexicano-Americano, cortesía del artista
HTMLText_E5EB6247_C836_4EF8_41E0_55C327A79BDC.html = Adriana Corral
b. 1983 - present, El Paso, Texas
Per Legem Terrae
Originally commissioned and produced by Artpace,
San Antonio, Texas.
2014/2025
Acetone transfer and colored pencil on gessobord
Can you recognize anything in the smudged lines of this piece? Take a moment to examine it closely and make a guess at what it could be.
Adriana Coral intentionally created these blurred lines by layering names from victims of femicides at the border. Corral was motivated to create a series of works after constantly reading the newspaper about the femicides in Juárez. Her desire is to bring awareness to the troubling reality of gender violence not only in Mexico but across the world. Adriana’s utilization of drawing and installation offers a deeper exploration of the medium, showcasing its powerful form of storytelling.
Mexican American Cultural Center, Courtesy of the Artist
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Adriana Corral
n. 1983 - presente, El Paso, Texas
Per Legem Terrae
2014/2025
Técnica Mixta
¿Puede reconocer algo en las líneas borrosas de esta pieza? Tómese un momento para
examinarla de cerca y haga una suposición sobre lo que podría ser.
Adriana Corral creó intencionalmente estas borrosidades mediante la superposición continua de nombres de víctimas de feminicidios en la frontera. Corral fue influenciada por sus días en El Paso leyendo periódicos sobre los feminicidios en Juárez. Espera concienciar sobre la realidad de la violencia de género no solo en México sino en todo el mundo. La utilización de la escultura por parte de Adriana ofrece una exploración más profunda del medio, mostrando su capacidad como una poderosa forma de narración.
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_E38989B9_C7F6_3D88_41E8_7E286BFDD96E.html = Adriana
1994
watercolor, prismacolor pencil
When Natividad was a child, she spent her time making paper dolls, an activity she has transformed into life-size cutouts of people. In Adriana, Natividad portrays a young girl riding a bicycle with training wheels across the grass on a warm summer’s day. To create the form, she builds up the transparent water media on watercolor paper attached to foamcore board that she cuts with a craft knife. This life-size cutout creates the effect of timeless youth in summertime freedom. Natividad says, “When I started doing these cutouts, I thought to myself, this is what I enjoyed doing when I was a little girl; now my paper doll cutouts are life-size paintings.” Natividad’s artistic focus has come about through an evolution of her own life and her educational experiences. While earning her associate’s degree in art in California, she took a class in Chicano studies, a course that had a strong influence on her art and her life. She lived in the Central Valley during the time of Cesar Chavez and his movement for the rights of farm workers. “The Chicano studies class and the United Farmworkers’ struggle for justice influenced me quite a bit,” Natividad remembers. "In California, the seed was planted, and the character and formation of my work took a different path. From that point on I began to focus on creating a body of work that represents my culture and heritage.”
Mexican American Cultural Center, Courtesy of the Artist
Detail of larger installation “Four Stages of Life
Narrative courtesy of Kippra D. Hopper, Laurie J. Churchill. “Art of West Texas Women”, Texas Tech University Press, 2010, p.44
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Adriana
2009
acuarela, lápiz prismacolor
Cuando Natividad era niña, se dedicaba a hacer muñecas de papel, una actividad que ha transformado en recortes de personas a tamaño natural. En Adriana, Natividad interpreta a una niña que anda por el césped en bicicleta con llantas de apoyo en un cálido día de verano. Para crear la forma, construye el medio de agua transparente en papel de acuarela unido a un tablero de espuma que corta con un cuchillo artesanal. Este recorte de tamaño natural crea el efecto de una juventud atemporal en la libertad del verano. Natividad dice: "Cuando comencé a hacer estos recortes, pensé, esto es lo que disfrutaba hacer cuando era niña; Ahora mis recortes de muñecas de papel son cuadros de tamaño natural". El enfoque artístico de Natividad ha surgido a través de una evolución de su propia vida y sus experiencias educativas. Mientras obtenía su título de asociado en arte en California, tomó una clase de estudios chicanos, un curso que tuvo una fuerte influencia en su arte y su vida. Vivió en el Valle Central durante la época de César Chávez y su movimiento por los derechos de los trabajadores agrícolas. "La clase de estudios chicanos y la lucha por la justicia de la Unión de Campesinos me influyeron bastante", recuerda Natividad. "En California se plantó la semilla, y el carácter y la formación de mi trabajo tomaron un camino diferente. A partir de ese momento, comencé a centrarme en crear un cuerpo de trabajo que representara mi cultura y herencia".
Centro Cultural México-Americano, cortesía de la artista
Detalle de una instalación más grande "Cuatro Etapas de la Vida
Narración cortesía de Kippra D. Hopper, Laurie J. Churchill. "El arte de las mujeres del oeste de Texas", Texas Tech University Press, 2010, p.44
HTMLText_E7AD2C27_C83E_DAB8_41E0_A85DA4818E8B.html = Celia Álvarez Muñoz
b. 1937 – present, El Paso, Texas
La Honey
1983
silver photographs, letterpress type narrative on rives paper, rock wood maple wood, plexiglass
Mexican American Cultural Center, Courtesy of the Artist
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Celia Álvarez Muñoz
n. 1937 – presente, El Paso, Texas
La Honey
1983
fotografías en plata, narrativa tipográfica en relieve sobre papel rives, madera de arce,
plexiglás
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_E1C78219_C7EA_CE8B_41DE_7C028B69D124.html = Christina
1994
watercolor, prismacolor pencil
“Christina” is one of four freestanding figures that make up Maria’s “Four Stages of Life” installation. In Christina, Almeida Natividad has not chosen a girl coming of age at her quinceñera but instead presents a more contemporary image of adolescence. Christina’s abundance of wavy hair cascades loosely rather than being tied into a traditional coiffure. Her manner of dress is not lacy, flouncy, and pastel in color but contemporary, urban, and casual. Her posture is confidant and determined, not demurely feminine. Maria Almeida Natividad states that her art is an expression of the common bonds of Chicano culture as well as her “continued search to define” herself. Many artist/teachers are continually conflicted in their struggle to be effective and compassionate teachers and, at the same time, to compete successfully in a demanding art world. Maria Almeida Natividad has built an identity that successfully integrates these two dimensions of her life. She works with materials such as watercolor, foamcore, and Prismacolor pencils that are mainstays in high school and college art programs. She chooses subject matter that validates and celebrates her student’s, parent’s, and community’s values. At life size, the viewer experiences Christina much as Maria experiences her students on a day-to-day basis. The rose at the feet of the almost defiant girl suggests a sweetness and vulnerability that few adolescents are willing to share with adults but that the best teachers find, nurture, and cherish.”
Mexican American Cultural Center, Courtesy of the Artist
Detail of larger installation, “Four Stages of Life”
Narrative courtesy of Mary Erickson, “Contemporary Chicana and Chicano Art”, Vol. 1, Bilingual Press: Hispanic Research Center-Arizona State University, 2002, p.32-33
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Christina
1994
acuarela, lápiz prismacolor
"Christina" es una de las cuatro figuras que componen la instalación "Cuatro etapas de la vida" de María. En Christina, María Almeida Natividad no eligió representar a una joven celebrando su quinceañera, sino que optó por mostrar a una adolescente con una imagen más contemporánea. La abundancia de cabello ondulado de Christina cae en cascada sin apretar en lugar de estar atado a un peinado tradicional. Su forma de vestir no es de encaje, volantes y colores pastel, sino contemporánea, urbana y casual. Su postura es confiada y decidida, no recatadamente femenina. María Almeida Natividad afirma que su arte es una expresión de los lazos comunes de la cultura chicana, así como de su "continua búsqueda para definirse" a sí misma. Muchos artistas/maestros están continuamente en conflicto en su lucha por ser maestros efectivos y compasivos y, al mismo tiempo, por competir con éxito en un mundo artístico exigente. María Almeida Natividad ha construido una identidad que integra con éxito estas dos dimensiones de su vida. Trabaja con materiales como la acuarela, el foamcore y los lápices Prismacolor que son pilares en los programas de arte de la escuela secundaria y la universidad. Ella elige temas que validan y celebran los valores de sus estudiantes, padres y la comunidad. A tamaño real, el espectador experimenta a Christina de la misma manera que María experimenta a sus estudiantes en el día a día. La rosa a los pies de la niña casi desafiante sugiere una dulzura y vulnerabilidad que pocos adolescentes están dispuestos a compartir con los adultos, pero que los mejores maestros encuentran, nutren y aprecian".
Centro Cultural México-Americano, cortesía de la artista
Detalle de una instalación más grande, "Cuatro Etapas de la Vida"
Narración cortesía de Mary Erickson, "Contemporary Chicana and Chicano Art", Vol. 1, Bilingual Press: Hispanic Research Center-Arizona State University, 2002, p.32-33
HTMLText_F9A44ED2_C836_5798_41C5_0D1FE11B58BC.html = Diana Molina
b. 1958 - present, El Paso, Texas
Dos XX Serape
2023
collage
Mexican American Cultural Center, Courtesy of the Artist
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Diana Molina
n. 1958 - presente, El Paso, Texas
Dos XX Sarape
2023
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_E7C3E34E_C83E_CE88_41CF_EE9F18E88DBE.html = Diana Molina
b. 1958 - present, El Paso, Texas
El Sol
2025
collage
Mexican American Cultural Ceneter, Courtesy of the Artist
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Diana Molina
n. 1958 - presente, El Paso, Texas
El Sol
2025
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_E7F738DB_C83A_DB88_41D6_F3E7DC31B604.html = Diana Molina
b. 1958 - present, El Paso, Texas
I Never Promised You a Rose Garden
2023
collage
Mexican American Cultural Center, Courtesy of the Artist
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Diana Molina
n. 1958 - presente, El Paso, Texas
Nunca te prometí un jardín de rosas
2023
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_E7FEB6EE_C83E_F788_41E8_20A8B7D00D35.html = Diana Molina
b. 1958 - present, El Paso, Texas
La Cosa Es Buscarle
2023
collage
Mexican American Cultural Center, Courtesy of the Artist
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Diana Molina
n. 1958 - presente, El Paso, Texas
La Cosa Es Buscarle
2023
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_E7D13FB5_C83E_D59B_41E0_734A6387C8B1.html = Diana Molina
b. 1958 - present, El Paso, Texas
La Luna
2025
collage
Mexican American Cultural Ceneter, Courtesy of the Artist
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Diana Molina
n. 1958 - presente, El Paso, Texas
La Luna
2025
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_E6E70C2F_C83A_DA88_41D9_147B7C519165.html = Diana Molina
b. 1958 - present, El Paso, Texas
Las Glorias para Cesar Martinez!
2023
collage
Mexican American Cultural Center, Courtesy of the Artist
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Diana Molina
n. 1958 - presente, El Paso, Texas
Las Glorias para César Martínez!
2023
collage
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_E2F74771_C7EE_7698_41E2_95559C73C040.html = El Paso History-Lower Valley Pride
2006
acrylic
Maria Almeida Natividad celebrates her culture by conveying through her artwork the importance of traditions in nurturing fundamental values and meaningful connections. Natividad is enchanted with her native homeland of El Paso, Texas, where the vibrant colors in desert plants, flowers, and sunsets influence her palette. Natividad has gained a reputation for the power of her public art. Among the few female muralists in El Paso, she has been involved in several community art projects, including a mural for the Judge Edward S. Marquez Branch Library dedicated in 2007. The mural, titled El Paso History-Lower Valley Pride, explores the multicultural heritage of El Paso. Natividad paints the Aztecs, the Tigua Indians, the Spanish conquistadors, missions, early settlers, traditional celebrations, and mountainous landscapes. Over the pass and down into the valley, El Paso sprawls around Mount Franklin on the border with Mexico. Natividad celebrates El Paso as a city that mixes Native American, Spanish, Anglo, and Mexican cultures in its populace, architecture, culture and art. She includes renderings of the region’s elegant Spanish missions, which continue as living testaments to the history and blending of El Paso cultures. “The library mural is a history lesson, a geographic view, and an honoring of the diversity in the community”, Natividad says. “The figures in the mural are painted in a variety of colorful hues and reveal the cultural dimensions of the people and land.” At the heart of the painting is a boy who is reading a book in a library. Natividad, who is also a former public school art teacher and former community college art faculty member, has dedicated her life to teaching others about their cultures.
Mexican American Cultural Center, Courtesy of the Artist
(Print) Original mural (15 ft. x 6ft.) located in the Judge Edward S. Marquez Branch Library
Narrative courtesy of Kippra D. Hopper, Laurie J. Churchill. “Art of West Texas Women”, Texas Tech University Press, 2010, p.41-42
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Historia de El Paso-Orgullo del Valle Bajo
2006
acrílico
María Almeida Natividad celebra su cultura transmitiendo a través de sus obras de arte la importancia de las tradiciones en el fomento de valores fundamentales y conexiones significativas. Natividad está encantada con su tierra natal de El Paso, Texas, donde los colores vibrantes de las plantas del desierto, las flores y las puestas de sol influyen en su paleta. Natividad se ha ganado una reputación por el poder de su arte público. Entre las pocas mujeres muralistas en El Paso, ha estado involucrada en varios proyectos de arte comunitario, incluido un mural para la Biblioteca del Juez Edward S. Márquez dedicado en 2007. El mural, titulado El Paso History-Lower Valley Pride, explora la herencia multicultural de El Paso. Natividad pinta a los aztecas, los indios Tigua, los conquistadores españoles, las misiones, los primeros pobladores, las celebraciones tradicionales y los paisajes montañosos. Sobre el paso y hacia el valle, El Paso se extiende alrededor del Monte Franklin en la frontera con México. Natividad celebra a El Paso como una ciudad que mezcla las culturas nativas americanas, españolas, anglosajonas y mexicanas en su población, arquitectura, cultura y arte. Incluye representaciones de las elegantes misiones españolas de la región, que continúan como testimonios vivos de la historia y la mezcla de las culturas de El Paso. "El mural de la biblioteca es una lección de historia, una visión geográfica y un homenaje a la diversidad de la comunidad", dice Natividad. "Las figuras del mural están pintadas en una variedad de tonos coloridos y revelan las dimensiones culturales de la gente y la tierra". En el corazón de la pintura hay un niño que está leyendo un libro en una biblioteca. Natividad, quien también fue maestra de arte en una escuela pública y miembro de la facultad de arte del colegio comunitario (Community College), ha dedicado su vida a enseñar a otros sobre sus culturas.
Centro Cultural México-Americano, cortesía de la artista
(Imprimir) Mural original (15 pies x 6 pies) ubicado en la Biblioteca Sucursal del Juez Edward S. Márquez
Narración cortesía de Kippra D. Hopper, Laurie J. Churchill. "El arte de las mujeres del oeste de Texas", Texas Tech University Press, 2010, p.41-42
HTMLText_E48A035F_C7F6_4E88_41E3_F4CFA0BB83EF.html = Eli en la Panaderia
2001
watercolor, prismacolor pencil
Pan dulce, or sweet bread, originated in Mexico following the introduction of wheat during the Spanish conquest of the Americas. It developed into many varieties thanks to French influences in the mid 1800s when Maximilian and Carlota settled in Mexico bringing European fashion and cuisine. During the early 20th century, the creative contribution of French baked goods to Mexico's cuisine peaked during the dictatorship of Porfirio Díaz. He had a great admiration for French culture and during his tenure, French chefs and cooks arrived in the country bringing their way of cooking, techniques, preparations, and dishes. Skilled Mexican bakers adopted French techniques and created new bread designs with colorful names and thus the traditional pan dulce was born. Today there are more than 200 different types of Pan Dulce in Mexico. The love for Pan Dulce con café is not just a Mexican tradition but goes beyond the border and panaderías can be found in most American cities with a large Hispanic population. Cultural practices that are familiar to us all are also strong influences in my art and inspire my creativity. In this narrative painting, one can practically smell the delicious aroma of the pan dulce, feel the warmth of the bakery, and almost taste the empanadas. In viewing this painting, your mind becomes flooded with memories of the past, pleasant memories of days gone by but not forgotten.
“Remember when Abuelito would wake up and all he wanted was his café con pan dulce for breakfast? Michael loved maranitos with his strong cup of coffee and Nick’s favorite were the conchas. Empanadas were Abuelitas choice made from apple or quince. And the little kids loved the churros and polvorones. For Christmas, Tia Mary always gave every family buñuelos. Then we would get Pan de Muertos for All Saints Day and the Rosca de Reyes for the holidays. Qué sabroso es el pan dulce y qué rica es nuestra cultura!”
Mexican American Cultural Center, Courtesy of Dr. Toribio & Jackie Natividad
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Eli en la Panaderia
2001
acuarela, lápiz prismacolor
El pan dulce se originó en México tras la introducción del trigo durante la conquista española de las Américas. Se desarrolló en muchas variedades gracias a las influencias francesas a mediados de 1800 cuando Maximiliano y Carlota se establecieron en México, trayendo la moda y la cocina europeas. A principios del siglo XX, la contribución creativa de los productos horneados franceses a la cocina mexicana alcanzó su punto máximo durante la dictadura de Porfirio Díaz. Tenía una gran admiración por la cultura francesa y durante su mandato, los chefs y cocineros franceses llegaron al país trayendo su forma de cocinar, técnicas, preparaciones y platos. Hábiles panaderos mexicanos adoptaron técnicas francesas y crearon nuevos diseños de pan con nombres coloridos y así nació el tradicional pan dulce. Hoy en día existen más de 200 tipos diferentes de Pan Dulce en México. El amor por el Pan Dulce con café no es solo una tradición mexicana, sino que va más allá de la frontera, y las panaderías se pueden encontrar en la mayoría de las ciudades estadounidenses con una gran población hispana. Las prácticas culturales que nos son familiares a todos también son fuertes influencias en mi arte e inspiran mi creatividad. En este cuadro narrativo se puede oler prácticamente el delicioso aroma del pan dulce, sentir la calidez de la panadería y casi saborear las empanadas. Al ver esta pintura, su mente se inunda de recuerdos del pasado, recuerdos agradables de días pasados pero no olvidados.
"¿Recuerdas cuando Abuelito se despertaba y lo único que quería era desayunar su café con pan dulce? A Michael le encantaban los maranitos con su taza de café fuerte y el favorito de Nick eran las conchas. Las empanadas eran la elección de Abuelitas hechas de manzana o membrillo. Y a los niños les encantaron los churros y polvorones. Para Navidad, Tía María siempre regalaba buñuelos a cada familia. Luego tendríamos Pan de Muerto para el Día de Todos los Santos y la Rosca de Reyes para las fiestas. ¡Qué sabroso es el pan dulce y qué rica es nuestra cultura!"
Centro Cultural México-Americano, Cortesía del Dr. Toribio y Jackie Natividad
HTMLText_E3467512_C7EA_CA98_41C1_16E0CCB131B9.html = Enoch
2001
watercolor, prismacolor pencil
This mixed media portrait attempts to reveal and question commonly held beliefs and assumptions about stereotypes. It also challenges the viewer to react to the image, to realize their thoughts and impressions as they view the image and to engage in a dialogue with the painting. In this painting, my goal was to have the viewer look beyond the surface and to see the human element present beneath the tough exterior. I am fascinated by the uniqueness and diversity of our culture, and I try to describe and reveal the humanity of each person without being judgmental but rather taking the position of cultural chronicler. The subject of this painting, Enoch, is a kind and gentle person with a love of family and friends. Initially, I was going to do a painting of him holding and playing with his sister’s kitten. It was so interesting to see this strong muscular young man treating the kitten with such gentleness and playfulness. After much contemplation, I decided to leave the kitten out of the composition and instead have the figure looking directly at the viewer as if he is having a personal conversation with the viewer. His stance is formidable but looking at his face you get a sense that this person has distinguishing aspects and attributes not easily identifiable by his outward appearance. I chose not to add a background to the figure instead letting the figure itself command all the attention from the viewer. I utilized a layering of transparent watercolor then applying more layers of Prismacolor pencil in curved and sinuous strokes to accentuate the muscular characteristics of the figure. It was like sculpting the figure not from clay but through thoughtful and deliberate strokes of colored lines.
Mexican American Cultural Center, Courtesy of the Artist
(Print) Original in the Collection of Dr. Gary Keller, Hispanic Research Center-Arizona State University
Narrative courtesy of the artist
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Enoch
2001
acuarela, lápiz prismacolor
Este retrato de técnica mixta intenta revelar y cuestionar las creencias y suposiciones comunes sobre los estereotipos. También desafía al espectador a reaccionar a la imagen, a darse cuenta de sus pensamientos e impresiones al ver la imagen y a entablar un diálogo con la pintura. En esta pintura, mi objetivo era que el espectador mirara más allá de la superficie y viera el elemento humano presente debajo del duro exterior. Me fascina la singularidad y diversidad de nuestra cultura, y trato de describir y revelar la humanidad de cada persona sin ser crítico, sino más bien tomando la posición de cronista cultural. El sujeto de esta pintura, Enoc, es una persona amable y gentil que ama a la familia y los amigos. Inicialmente, iba a hacer una pintura de él sosteniendo y jugando con el gatito de su hermana. Fue muy interesante ver a este joven fuerte y musculoso tratando al gatito con tanta gentileza y alegría. Después de mucha contemplación, decidí dejar al gatito fuera de la composición y, en su lugar, hacer que la figura mirara directamente al espectador como si estuviera teniendo una conversación personal con el espectador. Su postura es formidable, pero al mirar su rostro se tiene la sensación de que esta persona tiene aspectos y atributos distintivos que no son fácilmente identificables por su apariencia externa. Elegí no agregar un fondo a la figura, sino dejar que la figura en sí misma acaparara toda la atención del espectador. Utilicé una capa de acuarela transparente y luego apliqué más capas de lápiz Prismacolor en trazos curvos y sinuosos para acentuar las características musculares de la figura. Era como esculpir la figura, no de arcilla, sino a través de trazos reflexivos y deliberados de líneas de colores.
Centro Cultural México-Americano, cortesía de la artista
(Imprimir) Original en la Colección del Dr. Gary Keller, Centro de Investigación Hispana-Universidad Estatal de Arizona
Narración cortesía de la artista
HTMLText_FB3215B0_C836_5599_41E4_6F6D8345806B.html = Francisco Delgado
Cuidame Madre
Acrylic on Canvas
City of El Paso Public Art Collection
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Francisco Delgado
Cuidame Madre
Acrílico sobre lienzo
Colección de arte público de la ciudad de El Paso
HTMLText_F87FF46A_C83E_4A89_41E0_8A2B83C466AC.html = Gloria Osuna Perez
b. 1947, Madera, California
d. 1999, El Paso, Texas
Angela Marmolejo
No Date
Acrylic on canvas
Portrait art refers to the different techniques that reflect a specific individual, which dates back to ancient Egyptian times. Gloria Osuna Perez’s portraiture went beyond the confines of this practice as she described her work as Supraportraits, meaning beyond and above portraits. In her paintings, Osuna Perez darkened the skin tones of her participants to bring a sense of representation as she wanted to implement a reflection and relatability to the community of El Paso, Texas.
In contrast to the common representation of Eurocentrism within art and media, both Gloria Osuna Perez and Manuel Acosta’s work features subjective portrayals of Mexican Americans. How does each artist’s presentation of their work’s participants enable the community to connect with their art?
Mexican American Cultural Center, Courtesy of Roberto Perez Diaz.
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Gloria Osuna Perez
b. 1947, Madera, California
d. 1999, El Paso, Texas
Angela Marmolejo
Sin Fecha
Acrylico
El arte del retrato abarca diferentes técnicas que reflejan a una persona en una práctica que se remonta al antiguo Egipto. Sin embargo, el trabajo de Gloria Osuna Perez trascendió los límites de esta tradición, pues ella describía sus piezas como Supraportraits, es decir, retratos que van más allá de lo convencional. En sus pinturas, Osuna Perez oscurecía los tonos de piel de sus sujetos para reforzar la representación de la comunidad de El Paso, Texas, promoviendo la reflexión y la identificación con su arte.
En contraste con la representación eurocentrista predominante en el arte y los medios de comunicación, tanto Gloria Osuna Perez como Manuel Acosta presentan retratos subjetivos de los mexicanoamericanos.
¿De qué manera la representación de los participantes en las obras de cada artista permite que la comunidad se conecte con su arte?
Centro Cultural Mexicoamericano,
HTMLText_F84070AC_C83E_4B89_41D7_7FBE4DDE81A8.html = Gloria Osuna Perez
b. 1947, Madera, California
d. 1999, El Paso, Texas
Untitled
No Date
Acrylic on canvas
Portrait art refers to the different techniques that reflect a specific individual, which dates back to ancient Egyptian times. Gloria Osuna Perez’s portraiture went beyond the confines of this practice as she described her work as Supraportraits, meaning beyond and above portraits. In her paintings, Osuna Perez darkened the skin tones of her participants to bring a sense of representation as she wanted to implement a reflection and relatability to the community of El Paso, Texas.
Mexican American Cultural Center, Courtesy of Roberto Perez Diaz
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Gloria Osuna Perez
b. 1947, Madera, California
d. 1999, El Paso, Texas
Untitled
No Date
Acrylic on canvas
Mising text.
HTMLText_E7B44C45_C83A_7AFB_41D8_BB3362714BEF.html = Ingrid Leyva
b. 1987 – present, Chihuahua, Chihuahua
Mexican Shoppers Series
2019
digital photographs
Mexican American Cultural Center, Courtesy of the Artist
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Ingrid Leyva
n. 1987 – presente, Chihuahua, Chihuahua
Serie Compradores Mexicanos
2019
fotografías digitales
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_E7349633_C83A_F69F_41D4_CC1461477944.html = Jason Lucero
b. 1979 – present, Lawton, Oklahoma
Tsunamicide
2025
mixed media on wood panel
Inspired by Troy Montes Michie’s work, Jason Lucero’s mixed media pieces embrace the medium of collage and the abstract aesthetic. While Jason focuses on creating landscapes that depicts a dream like familiar state, Troy Montes Michie pays an ode to subcultures and power structures through his empowering depiction of brown and black bodies in an effort to create accuracy. Growing up, Montes Michie saw a skewed representation in magazines when it came to people of color, thus inspiring him to create works that promote perseverance.
What are the similarities and differences in how each artist approaches collage in their pieces?
Mexican American Cultural Center, Courtesy of the Artist
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Jason Lucero
n. 1979 – presente, Lawton, Oklahoma
Tsunamicidio
2025
técnica mixta sobre panel de madera
Indicaciones para comparar la obra de Jason y Troy:
Inspirado en la obra de Troy Montes Michie, las piezas de técnica mixta de Jason Lucero adoptan el medio del collage y una estética abstracta. Mientras que Jason se enfoca en la creación de paisajes que representan un estado onírico y familiar, Troy Montes Michie rinde homenaje a las subculturas y a las estructuras de poder a través de su representación empoderadora de cuerpos negros y morenos en un esfuerzo por generar mayor precisión. Durante su infancia, Montes Michie notó la representación sesgada de las personas de color en revistas, lo que lo llevó a crear obras que fomentan la perseverancia. ¿Cuáles son las similitudes y diferencias en la manera en que cada artista aborda el collage en sus piezas?
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_E7502419_C83A_CA88_41E6_CC54691DF1A9.html = Jason Lucero
b. 1979 – present, Lawton, Oklahoma
Crosby Sunset
2025
mixed media on wood panel
Mexican American Cultural Center, Courtesy of the Artist
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Jason Lucero
n. 1979 – presente, Lawton, Oklahoma
Atardecer en Crosby
2025
técnica mixta sobre panel de madera
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_F9D400B2_C83A_4B99_41C7_A16AD22408F3.html = Jose Villalobos
b. 1988 - present, El Paso, Texas
Diseñando Masculinidades Brown
2024
wood panel, rope, acrylic
Notice the different shapes and color tones of each sculpture as you walk around it. Does it remind you of anything familiar from this specific region? Jose Villalobos’ work brings a resonating concept of life on the border by highlighting common cultural practices and spatial elements of the Southwest.
Identifying as a Queer Fronterizo, Jose Villalobos grew up both in El Paso, Texas and Juárez where he directly confronted the impacts of machismo, inspiring his influential performance pieces and sculptural work. Villalobos describes his art as deconstructing hegemonic powers of masculinity by placing forth his narratives of both pain and resistance that resonates with many LGBTQ+ Mexicana and Mexican Americans.
Mexican American Cultural Center, Courtesy of the Artist
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Jose Villalobos
nacimiento 1988 a present, El Paso, Texas
Diseñando Masculinidades Marrón
2024
panel de madera, cuerda, acrílico
Observe las diferentes formas y tonos de color de cada escultura mientras camina a su alrededor. ¿Le recuerda a algo familiar de esta región específica? El trabajo de Jose Villalobos transmite un concepto que resuena profundamente con la vida en la frontera al destacar prácticas culturales comunes y elementos espaciales del suroeste.
Identificándose como Queer Fronterizo, Jose Villalobos creció tanto en El Paso, Texas, como en Juárez, donde confrontó directamente los impactos del machismo, lo que inspiró sus influyentes piezas de performance y esculturas. Villalobos describe su arte como una deconstrucción de los poderes hegemónicos de la masculinidad, presentando narrativas de dolor y resistencia que conectan con muchas personas LGBTQ+ mexicanas y mexicoamericanas.
Centro Cultural Mexicoamericano, Cortesía del artista.
HTMLText_F97E17C8_C83A_7589_41E0_7A8449FC1E0B.html = Jose Villalobos
b. 1988 - present, El Paso, Texas
Diseñando Masculinidades Orange
2024
wood panel, rope, acrylic
Mexican American Cultural Center, Courtesy of the Artist
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Jose Villalobos
n. 1988 - present, El Paso, Texas
Diseñando Masculinidades Naranja
2024
panel de madera, cuerda, acrílico
Centro Cultural Mexicoamericano, Cortesía del artista
HTMLText_FAAFD3F2_C83A_4D99_41D8_2BC64DE90522.html = Jose Villalobos
b. 1988 - present, El Paso, Texas
Diseñando Masculinidades Red
2024
wood panel, rope, acrylic
Mexican American Cultural Center, Courtesy of the Artist
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Jose Villalobos
n. 1988 - present, El Paso, Texas
Diseñando Masculinidades Rojo
2024
panel de madera, cuerda, acrílico
Centro Cultural Mexicoamericano, Cortesía del artista
HTMLText_E3CFC149_C7EA_CA8B_41D4_F4E64DE0AFC1.html = La Charra
2023
watercolor, prismacolor pencil
Mexican charro culture celebrates horsemanship and charro costumes as part of the country’s colorful heritage. Charros have helped form Mexican identity for over 500 years, from the arrival of the Spanish with their horses to Mexico’s independence to the present. Skilled horse riders test themselves in competitions called charreadas, covering everything from lasso work to jumping onto wild mares. Conquistadores from Spain brought something new to a colonized land, which, over time, the local population converted into something undeniably and uniquely Mexican. The Mexican charro culture came from the Spanish introducing horses to the country. Nowadays, it speaks of the Mexican cowboy, horsemanship, and remarkable clothing that puts it at the heart of Mexican identity. Charros are skilled horsemen and, more recently, women called charras have also become part of the tradition. The “charro” has become a traditional symbol of Mexican culture and pride.
“Every year Mexican Independence Day is celebrated on September 16. That date is a symbol of the struggle and courage of the Mexican people in their search for liberty and autonomy. Throughout Mexico, it is celebrated with parades with folkloric dances of Mexico and Mexican Charros (Cowboys), including young ladies on horseback.”
Mexican American Cultural Center, Courtesy of Dr. Nicholas & Michelle Natividad
Narrative courtesy of the artist
Descriptive paragraph by Mary Wilson
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La Charra
2023
acuarela, lápiz prismacolor
La cultura charra mexicana celebra la equitación y los trajes de charro como parte del colorido patrimonio del país. Los charros han ayudado a formar la identidad mexicana durante más de 500 años, desde la llegada de los españoles con sus caballos a la independencia de México hasta el presente. Los jinetes expertos se ponen a prueba en competencias llamadas charreadas, que cubren todo, desde el trabajo con lazo hasta saltar sobre yeguas salvajes. Los conquistadores de España trajeron algo nuevo a una tierra colonizada, que, con el tiempo, la población local convirtió en algo innegable y exclusivamente mexicano. La cultura charra mexicana proviene de los españoles que introdujeron los caballos al país. Hoy en día, se habla del vaquero mexicano, de la equitación y de una vestimenta notable que lo pone en el corazón de la identidad mexicana. Los charros son hábiles jinetes y, más recientemente, las mujeres llamadas charras también se han convertido en parte de la tradición. El charro se ha convertido en un símbolo tradicional de la cultura y el orgullo mexicano.
"Todos los años se celebra el Día de la Independencia de México el 16 de septiembre. Esa fecha es un símbolo de la lucha y el coraje del pueblo mexicano en su búsqueda de libertad y autonomía. En todo México, se celebra con desfiles con danzas folclóricas de México y Charros Mexicanos (Vaqueros), incluyendo señoritas a caballo".
Centro Cultural México-Americano, Cortesía del Dr. Nicholas y Michelle Natividad
Narración cortesía de la artista
Párrafo descriptivo de Mary Wilson
HTMLText_E49FD116_C7F6_4A98_41C7_B29540FBBF46.html = La Navidad
2010
watercolor, prismacolor pencil
Memories and experiences from my childhood present an intimate and personal source for artistic expression. These images not only speak of my experiences but signify the collective memories that represent the everyday events and celebrations of the Chicano/Latino community. Important traditions celebrating life, family, faith and culture were the foundations of my youth. The piñatas, quinceñeras, bodas, bautismos, fiestas and reuniones familiares and even to the smell of tamales drifting through our home during the holidays are warm memories that I will always cherish. I remember many traditions from my youth and storytelling was an important custom when I was growing up. During family reunions we would listen to our elders tell stories of the past; how my maternal grandfather, Papa Bel, was kidnapped by Pancho Villa, and my paternal grandfather, Abuelito Almeida helped to build the Hoover Dam. We heard stories of uncles and brothers going to war in Europe during WWII and Vietnam to protect us and to serve our country. We listened to oral histories of various family members as farmers, ranchers, teachers, soldiers, businessmen, bankers, community leaders, carpenters, painters and artists. My artwork is an attempt to continue the storytelling tradition through visual images that speak about our culture, our shared memories, our ancestors and the imprints they left on our hearts. It is my way of honoring our ancestors, giving light to the past and showing gratitude for our inheritance. Our youth face many challenges today and they have many distractions, yet they have demonstrated that they will not allow our culture to be forgotten or dismissed. They are reclaiming their culture and traditions showing pride of who they are and of the contributions our culture has made to the world.
Mexican American Cultural Center, Courtesy of Alex & Mary Diaz de Leon
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La Navidad
2010
acuarela, lápiz prismacolor
Los recuerdos y experiencias de mi infancia presentan una fuente íntima y personal de expresión artística. Estas imágenes no solo hablan de mis experiencias, sino que significan las memorias colectivas que representan los eventos y celebraciones cotidianas de la comunidad chicana/latina. Importantes tradiciones que celebran la vida, la familia, la fe y la cultura fueron los cimientos de mi juventud. Las piñatas, quinceañeras, bodas, bautismos, fiestas y reuniones familiares e incluso el olor de los tamales que flotan en nuestra casa durante las fiestas son recuerdos cálidos que siempre atesoraré. Recuerdo muchas tradiciones de mi juventud y contar cuentos era una costumbre importante cuando era niña. Durante las reuniones familiares escuchábamos a nuestros mayores contar historias del pasado; cómo mi abuelo materno, Papá Bel, fue secuestrado por Pancho Villa, y mi abuelo paterno, Abuelito Almeida, ayudó a construir la presa Hoover. Escuchamos historias de tíos y hermanos que fueron a la guerra en Europa durante la Segunda Guerra Mundial y en Vietnam para protegernos y servir a nuestro país. Escuchamos historias orales de varios miembros de la familia como agricultores, ganaderos, maestros, soldados, empresarios, banqueros, líderes comunitarios, carpinteros, pintores y artistas. Mi obra es un intento de continuar la tradición de contar historias a través de imágenes visuales que hablan de nuestra cultura, nuestros recuerdos compartidos, nuestros antepasados y las huellas que dejaron en nuestros corazones. Es mi forma de honrar a nuestros antepasados, dar luz al pasado y mostrar gratitud por nuestra herencia. Nuestros jóvenes enfrentan muchos desafíos hoy en día y tienen muchas distracciones, sin embargo, han demostrado que no permitirán que nuestra cultura sea olvidada o descartada. Están reclamando su cultura y tradiciones, mostrando orgullo de quiénes son y de las contribuciones que nuestra cultura ha hecho al mundo.
Centro Cultural México-Americano, Cortesía de Alex y Mary Díaz de León
HTMLText_E3B1B412_C7EA_CA98_41DC_1F5F0FCE5B55.html = Las Hermanas
2000
watercolor
Each culture has treasures found in their traditions, language, food, music, dance and customs. Our Mexican American, Hispanic, Latino, Chicano culture, call it as you may, is rich in cultural treasures. One of them is the celebration of the culture through dance and music and the delightful experience of the folklorico tradition. These two beautiful sisters are engaged in preparation for their next baile folklórico dance performance and are eager to share their love of the dance with others. The painting does not represent the two sisters in a formal conventional pose but rather in a normal gesture of helping each other in preparation for the dance. The rich colors of blue, purple and pink in the dresses combined with the white lace trim give the work a soft energy and is symbolic of the colors of springtime. These young dancers are continuing the traditions of our ancestors and giving voice to those that came before us and honoring their past, present and future with memorable song and dance. This painting is a celebration of the beauty of our youth and our traditions.
Mexican American Cultural Center, Courtesy of Alex & Mary Diaz de Leon
Narrative courtesy of artist, featured in La Prensa Texas publication, Vol. 4 No. 37, September 12, 2021.
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Las Hermanas
2000
acuarela
Cada cultura tiene tesoros que se encuentran en sus tradiciones, idioma, comida, música, danza y costumbres. Nuestra cultura mexicoamericana, hispana, latina y chicana, llámenla como quieran, es rica en tesoros culturales. Una de ellas es la celebración de la cultura a través de la danza y la música y la deliciosa experiencia de la tradición folclórica. Estas dos hermosas hermanas están ocupadas en la preparación de su próximo espectáculo de baile folclórico y están ansiosas por compartir su amor por el baile con los demás. La pintura no representa a las dos hermanas en una pose formal convencional, sino más bien en un gesto normal de ayudarse mutuamente en preparación para el baile. Los ricos colores azul, morado y rosa de los vestidos, combinados con los adornos de encaje blanco, dan a la obra una energía suave y simbolizan los colores de la primavera. Estos jóvenes bailarines continúan las tradiciones de nuestros antepasados y dan voz a los que nos precedieron y honran su pasado, presente y futuro con canciones y bailes memorables. Esta pintura es una celebración de la belleza de nuestra juventud y nuestras tradiciones.
Centro Cultural México-Americano, Cortesía de Alex y Mary Díaz de León
Narración cortesía de la artista, presentada en la publicación La Prensa Texas, Vol. 4 No. 37, 12 de septiembre de 2021.
HTMLText_E6937DD7_C83A_5598_41B8_4537E29BBD01.html = Luis Jimenez
b. 1940, El Paso, Texas
d. 2006, Hondo, New Mexico
Bronco I – Bronco II
1978
lithograph
I felt like (my work) was a blue-collar process, I didn’t want to go for that art process
-Luis Jimenez
During the time of the minimalist art movement, which began in the late 1950s-1970s, artists simplified the composition of their work through the use of simple geometric shapes. Luis Jimenez’s work was seen as controversial to this movement as he incorporated a variety of garish elements into his sculpture and print work.
Working under his father as a sign maker, Luis Jimenez saw his father's labor projects as an artistic medium which he then began to teach himself how to paint and engage in other mediums. His work has broadened the representation of Mexican Americans in public life and art as Jimenez heavily focused on creating a different perspective of the history of Mexico and the Southwest.
Mexican American Cultural Center, Courtesy of the Robert Belk and Margaret Amada
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Luis Jimenez
n. 1940, El Paso, Texas
f. 2006, Hondo, Nuevo México
Bronco I – Bronco II
1978
litografía
Centro Cultural Mexicoamericano, Cortesía de la Colección Belk
"Sentía que (mi trabajo) era un proceso de clase trabajadora, no quería optar por ese proceso artístico" -Luis Jimenez Durante el movimiento artístico minimalista, que comenzó a finales de los años 50 y se extendió hasta los 70, los artistas simplificaron la composición de sus obras mediante el uso de formas geométricas básicas. El trabajo de Luis Jimenez fue visto como controvertido dentro de este movimiento, ya que incorporó una variedad de elementos estridentes en sus esculturas y grabados. Trabajando bajo la dirección de su padre como rotulista, Jimenez vio los proyectos laborales de su padre como un medio artístico, lo que lo llevó a enseñarse a sí mismo a pintar y a explorar otros medios. Su obra ha ampliado la representación de los mexicoamericanos en la vida pública y el arte, ya que Jimenez se enfocó en crear una perspectiva diferente de la historia de México y el suroeste de EE.UU.
Centro Cultural Mexicoamericano, Cortesía del Museo de Arte de El Paso
HTMLText_E67D3A87_C83A_5E78_41DB_400FC1CD7AED.html = Luis Jimenez
b. 1940, El Paso, Texas
d. 2006, Hondo, New Mexico
Aire, Tierra, Fuego y Agua
1989
lithograph
Mexican American Cultural Center, Courtesy of the Gaspar Enriquez Collection
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Luis Jimenez
n. 1940, El Paso, Texas
f. 2006, Hondo, Nuevo México
Aire, Tierra, Fuego y Agua
1989
litografía en piedra
Centro Cultural Mexicoamericano, Cortesía de la Colección Gaspar Enríquez
HTMLText_E6988741_C83A_56F8_41B3_F3554C5D1F35.html = Luis Jimenez
b. 1940, El Paso, Texas
d. 2006, Hondo, New Mexico
El Buen Pastor (The Good Shepherd)
1999
lithograph
Mexican American Cultural Center, Courtesy UTEP Special Collections
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Luis Jimenez
b. 1940, El Paso, Texas
d. 2006, Hondo, New Mexico
El Buen Pastor (The Good Shepherd)
1999
lithograph
Centro Cultural Mexicano-Americano, cortesía de las Colecciones Especiales de la UTEP.
HTMLText_E27D6F92_C7EA_D599_41B5_0541F1956582.html = Mago Gandara
b. 1929, El Paso, Texas
d. 2018, El Paso, Texas
The Weaver
1996
Fiberglass
Mexican American Cultural Center, Courtesy of Pierre Hernandez
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Mago Gandara
n. 1929, El Paso, Texas
f. 2018, El Paso, Texas
El tejedor
1996
Fibra de vidrio
Centro Cultural Mexicano-Americano, cortesía de Pierre Hernández
HTMLText_F82AC942_C83E_5AF8_41C3_842AF4C69636.html = Marco Sanchez
b. 1983 – present, Ciudad Juarez, Chihuahua
Desert Bootquet
2020
relief print
Mexican American Cultural Center, Courtesy of the Artist
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Marco Sanchez
n. 1983 – presente, Ciudad Juárez, Chihuahua
Ramo del Desierto
2020
impresión en relieve
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_F8FA5F80_C83A_5679_41D6_801BD7E489EE.html = Marco Sanchez
b. 1983 – present, Ciudad Juarez, Chihuahua
Elixir
2025
color lithography
Mexican American Cultural Center, Courtesy of the Artist
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Marco Sanchez
n. 1983 – presente, Ciudad Juárez, Chihuahua
Elixir
2025
litografía a color
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_F8E35708_C83A_7688_41DC_B379FCC304C3.html = Marco Sanchez
b. 1983 – present, Ciudad Juarez, Chihuahua
Madre Maiz
2024
lithography and watercolor embellished
Mexican American Cultural Center, Courtesy of the Artist
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Marco Sanchez
n. 1983 – presente, Ciudad Juárez, Chihuahua
Madre Maiz
2024
litografía con detalles en acuarela
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_F945D57E_C83E_4A89_41B1_672DD3F275CC.html = Marco Sanchez
b. 1983 – present, Ciudad Juarez, Chihuahua
Sudados
2020
etching with aquatint
Mexican American Cultural Center, Courtesy of the Artist
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Marco Sanchez
n. 1983 – presente, Ciudad Juárez, Chihuahua
Sudados
2020
aguafuerte con aguatinta
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_E7A3D888_C83E_DB88_41CD_23E784F8CF48.html = Marianna Olague
b. 1990 - present, El Paso, Texas
Mirror Charms
2024
oil on canvas
Mexican American Cultural Center, Courtesy of the Artist
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Marianna Olague
bn. 1990 - presente, El Paso, Texas
Amuletos de Espejo
2024
óleo sobre lienzo
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_F91D94EF_C83E_CB87_41B4_F020880F4C6C.html = Marianna Olague
b. 1990 - present, El Paso, Texas
Virgen por el Gateway South
2021
oil on canvas
Mexican American Cultural Center, Courtesy of the Artist
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Marianna Olague
n. 1990 - presente, El Paso, Texas
Virgen por el Gateway South
2021
óleo sobre lienzo
Centro Cultural Mexicoamericano, Cortesía de la Artista
HTMLText_E47AA604_C7F6_5678_41E7_B434218245DB.html = Menudo-Breakfast of Champions
2009
watercolor, prismacolor pencil
In Mexican cuisine, Menudo is a traditional Mexican soup made with tripe (cow’s stomach) and posole (hominy) and cooked in a broth with a red chili pepper base. Lime, onions and oregano are used to season the broth and toasted, francesitos (buttered French bread) is an additional compliment to the dish. It is served at family gatherings all year long but mostly in the cold seasons to warm the body or as a cure for a night of too much celebration. It is as familiar to the culture as Lucha Libre. The concept for the Menudo painting came about when I was shopping in the cereal section of the grocery store and noticed that the Wheaties cereal boxes had famous sports figures. I looked at the various cereal boxes and wondered why not a Lucha Libre fighter on the box and Menudo instead of dry cereal inside. A hot bowl of Menudo or posole on a cold winter’s morning is certainly a favorite in this area of the Southwest. I decided to take artistic license and reconstructed the cereal box to represent a traditional food that is well known on both sides of the border. I kept the orange color of the cereal box but changed all the other aspects of the iconic cereal box, a popular corporate American breakfast food. I used a mixed media technique of watercolor and Prismacolor pencils to create the image. The company name became Chicano Food Company, and the net weight was 20.10 oz. a commemoration to the year of the Mexican Revolution. The famous athlete or Mexican superhero on the design is a Lucha Libre figure wearing a belt that says Campeón Mundial (World Champeon). I composed the various design elements to sit on top of a colorful Mexican sarape and named the new and savory cereal, “Menudo-Breakfast of Champions”. Who doesn’t like menudo, right?
Mexican American Cultural Center, Courtesy of the Artist
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Menudo-Desayuno de Campeones
2009
acuarela, lápiz prismacolor
En la cocina mexicana, El menudo es una sopa tradicional mexicana preparada con estómago de res y maíz cacahuazintle, cocido en un caldo a base de chile rojo. Limón, cebolla y orégano realzan el sabor del caldo, mientras que los francesitos (pan francés con mantequilla) se sirven como acompañamiento Se sirve en reuniones familiares durante todo el año, pero sobre todo en las estaciones frías para calentar el cuerpo o como cura para una noche de demasiada celebración. Es tan familiar a la cultura como la Lucha Libre. El concepto de la pintura Menudo surgió estando en la sección de cereales de una tienda de abarrotes y noté que las cajas de cereal Wheaties tenían figuras deportivas famosas. Miré las diversas cajas de cereal y me pregunté por qué no un luchador de Lucha Libre en la caja y Menudo en lugar de cereal seco. Un tazón caliente de menudo o pozole en una fría mañana de invierno es sin duda uno de los favoritos en esta área del suroeste. Decidí hacer uso de mi licencia artística y reconstruí la caja de cereales para representar una comida tradicional que es bien conocida en ambos lados de la frontera. Mantuve el color naranja de la caja de cereal, pero cambié todos los demás aspectos de la icónica caja de cereal, un popular alimento estadounidense para el desayuno. Utilicé una técnica mixta de acuarela y lápices Prismacolor para crear la imagen. El nombre de la compañía se convirtió en Chicano Food Company, y el peso neto fue de 20.10 onzas, en conmemoración del año de la Revolución Mexicana. El famoso atleta o superhéroe mexicano en el diseño es una figura de Lucha Libre con un cinturón que dice Campeón Mundial. Compuse los diversos elementos de diseño para que se sentaran encima de un colorido sarape mexicano y llamé al nuevo y sabroso cereal, "Menudo-Desayuno de Campeones". ¿A quién no le gusta el menudo, verdad?
Centro Cultural México-Americano, cortesía de la artista
HTMLText_E469FCF3_C7F6_5B9F_41E4_DFCBEA0D8AC4.html = Mother and Child
1998
watercolor, prismacolor pencil
Family is another theme that has great significance to me as an artist.Women in our culture are usually the healers, the makers, the guardians of the faith and the teachers. Their roles center on relationships with their spouses, children, extended family members and community members. Thus, as did the abuelitas of the past, women are still entrusted with teaching values through the oral traditions of storytelling, sayings, songs and family histories. I use this type of visual narration to capture those values that are so meaningful and so important to our culture that I wish to encourage and pass them on to the next generation or we risk losing them. In this mixed media painting I wanted to demonstrate the warm relationship between the mother and the child. The mother has her head slightly tilted with her gaze on the child and a soft smile on her face. She is holding the child gently and the child is looking directly at the viewer. The mother is wearing a white blouse with colorful flowers representing hope and love and the child is dressed in yellow symbolizing faith, joy, and life. Women of the XXI century, have renegotiated the domestic and community roles that they play as they become more educated, independent, skilled and confident. As we migrate back and forth across borders, across languages, and across identities, (mother, teacher, etc.,) we become more cognizant of the responsibility we have to our children and our community. We recognize the treasures of our ancestors and entrust them to our heirs. We acknowledge the diverse cultures on this earth, and we recognize that through mutual respect and appreciation of all cultures, that child in the yellow dress and all our children will have a peaceful future.
Mexican American Cultural Center, Courtesy of Alex and Mary Diaz de Leon
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Madre e Hijo
1998
acuarela, lápiz prismacolor
La familia es otro tema que tiene un gran significado para mí como artista. Las mujeres en nuestra cultura suelen ser las sanadoras, las creadoras, las guardianas de la fe y las maestras. Sus funciones se centran en las relaciones con sus cónyuges, hijos, miembros de la familia extendida y miembros de la comunidad. Así, al igual que las abuelitas del pasado, a las mujeres se les sigue confiando la enseñanza de valores a través de las tradiciones orales de la narración de cuentos, dichos, canciones e historias familiares. Utilizo este tipo de narración visual para capturar esos valores que son tan significativos y tan importantes para nuestra cultura que deseo alentarlos y transmitirlos a la próxima generación o corremos el riesgo de perderlos. En esta pintura de técnica mixta quería mostrar la cálida relación entre la madre y el niño. La madre tiene la cabeza ligeramente inclinada con la mirada puesta en el niño y una suave sonrisa en su rostro. Ella está sosteniendo al niño suavemente y el niño está mirando directamente al espectador. La madre lleva una blusa blanca con flores de colores que representan la esperanza y el amor y el niño está vestido de amarillo que simboliza la fe, la alegría y la vida. Las mujeres del siglo XXI han renegociado los roles domésticos y comunitarios que desempeñan a medida que se vuelven más educadas, independientes, capacitadas y seguras de sí mismas. A medida que migramos de un lado a otro a través de las fronteras, los idiomas y las identidades (madre, maestra, etc.), nos volvemos más conscientes de la responsabilidad que tenemos para con nuestros hijos y nuestra comunidad. Reconocemos los tesoros de nuestros antepasados y los confiamos a nuestros herederos. Reconocemos las diversas culturas en esta tierra, y reconocemos que a través del respeto mutuo y el aprecio de todas las culturas, ese niño del vestido amarillo y todos nuestros niños tendrán un futuro pacífico.
Centro Cultural México-Americano, Cortesía de Alex y Mary Díaz de León
HTMLText_E314E3A8_C7EA_CD89_41E5_94D9FFCB855D.html = Mount Cristo Rey
2015
watercolor, ink, prismacolor pencil
One of El Paso’s most famous landmarks is Mount Cristo Rey. It is a 29-foot-tall limestone statue of Jesus Christ that overlooks the borders of Texas, New Mexico and Mexico. This statue unites two countries through faith. The statue serves as a shrine to thousands of faithful people in the El Paso and Southern New Mexico area. The idea to erect a monument at the summit of the mountain was envisioned by a local parish priest named Father Lourdes Costa. World famous sculptor Urbici Soler was commissioned to construct the monument, and it was dedicated on October 17, 1940. The entire monument stands 42 feet high, making it one foot higher than the famous Christ of the Andes sculpture in Brazil.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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Menudo-Desayuno de Campeones
2009
acuarela, tints, lápiz prismacolor
Uno de los monumentos más famosos de El Paso es el Monte Cristo Rey. Es una estatua de piedra caliza de 29 pies de altura de Jesucristo que domina las fronteras de Texas, Nuevo México y México. Esta estatua une a dos países a través de la fe. La estatua sirve como santuario para miles de personas fieles en el área de El Paso y el sur de Nuevo México. La idea de erigir un monumento en la cima de la montaña fue concebida por un párroco local llamado Padre Lourdes Costa. El escultor de fama mundial Urbici Soler fue el encargado de construir el monumento, que fue inaugurado el 17 de octubre de 1940. Todo el monumento tiene 42 pies de altura, lo que lo hace un pie más alto que la famosa escultura del Cristo Redentor en Brasil.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_E3DB6E8A_C7EA_D788_41B6_A899A03220C1.html = Nick
2008
watercolor, prismacolor pencil
The automobile is an iconic symbol of American culture and history. Within Chicano culture, old classic cars are popular, iconic and considered not just instruments for mobility but are re-fashioned machines with aesthetic appeal and artistic craftsmanship. Both my father and grandfather had handsome old classic cars and our son continues this tradition with his love and appreciation of old classic cars and trucks. “Nick” is a painting of my son with his 1953 Chevy truck painted with watercolors and Prismacolor pencils. As I worked on the painting, I wondered about what travels this handsome old truck had taken and what stories it could tell. I wanted the painting to have a feeling of a relaxing warm summer day reminiscent of days gone by. In designing the painting, I spent much time studying the shape of the truck and the thinking about how to best illustrate the beauty of this ageless icon through a simple but forceful rendering using my favorite media, watercolor. I selected this viewpoint to showcase both the front and the side of the truck in order to focus on the curves of the chrome bumper, the grill, the hood and the side-step. Curved watercolor brush strokes and curved pencil lines on the body of the car introduce movement to this otherwise static composition. The warm browns of the standing figure were utilized to contrast with the car’s rich, cool blue-black metallic surface. I wanted to convey a feeling of strength in both the classic truck and the young man leaning against it. Old classic cars and trucks are remnants of the past that remind us of good times, family, tradition and the importance of appreciating our past and our heritage.
Mexican American Cultural Center, Courtesy of Dr. Nicholas & Michelle Natividad
Narrative courtesy of artist, featured in La Prensa Texas publication, Vol. 4 No. 40, October 3, 2021.
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Nick
2008
acuarela, lápiz prismacolor
El automóvil es un símbolo icónico de la cultura y la historia estadounidenses. Dentro de la cultura chicana, los viejos autos clásicos son populares, icónicos y considerados no solo instrumentos para la movilidad, sino que son máquinas remodeladas con atractivo estético y artesanía artística. Tanto mi padre como mi abuelo tenían hermosos autos clásicos antiguos y nuestro hijo continúa esta tradición con su amor y aprecio por los autos y camiones clásicos. "Nick" es una pintura de mi hijo con su camioneta Chevy de 1953 pintada con acuarela y lápices Prismacolor. Mientras trabajaba en la pintura, me preguntaba qué viajes había hecho este hermoso camión viejo y qué historias podría contar. Quería que la pintura tuviera la sensación de un relajante y cálido día de verano que recordaba a días pasados. Al diseñar la pintura, pasé mucho tiempo estudiando la forma del camión y pensando en cómo ilustrar mejor la belleza de este ícono eterno a través de una representación simple pero contundente usando mi medio favorito, la acuarela. Elegí este punto de vista para mostrar tanto la parte delantera como la lateral de la camioneta con el fin de centrarme en las curvas de la defensa cromada, la parrilla, el capacete y el estribo lateral. Las pinceladas curvas de acuarela y las líneas curvas de lápiz en la carrocería del automóvil introducen movimiento a esta composición estática. Los marrones cálidos de la figura de pie se utilizaron para contrastar con la rica y fría superficie metálica azul-negra del automóvil. Quería transmitir una sensación de fuerza tanto en el camión clásico como en el joven apoyado en él. Los viejos autos y camiones clásicos son vestigios del pasado que nos recuerdan los buenos tiempos, la familia, la tradición y la importancia de apreciar nuestro pasado y nuestra herencia.
Centro Cultural México-Americano, Cortesía del Dr. Nicholas y Michelle Natividad
Narración cortesía de la artista, presentada en la publicación La Prensa Texas, Vol. 4 No. 40, 3 de octubre de 2021.
HTMLText_F9A05B20_C836_5EB9_41E1_C561C68C1C08.html = Ricardo Chavaria
61
Acrylic on Canvas
City of El Paso Public Art Collection
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Ricardo Chavaria
61
Acrílico sobre lienzo
Colección de arte público de la ciudad de El Paso
HTMLText_E620BAFC_C836_5F89_41E5_A9993048DAA7.html = Richard Armendariz
b. 1969 – present, El Paso, Texas
Exodus II (remix)
2021
wood block print
Mexican American Cultural Center, Courtesy of the Artist
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Richard Armendariz
n. 1969 - presente, El Paso, Texas
Éxodo II (remix)
2021
grabado en madera
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_E61DB52F_C836_4A88_41DA_51FA60A7C905.html = Richard Armendariz
b. 1969 – present, El Paso, Texas
Point of No Return
2021
wood block print
Mexican American Cultural Center, Courtesy of the Artist
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Richard Armendariz
n. 1969 - presente, El Paso, Texas
Punto de no retorno
2021
grabado en madera
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_E695B4CB_C836_4B88_41E4_7B588381351E.html = Richard Armendariz
b. 1969 – present, El Paso, Texas
Wish I Could Leave Well Enough Alone
2021
wood block print
Richard Armendariz incorporates elements of Greek and Meso-American mythology to reflect his upbringing along the U.S.-Mexico border.. These woodblock prints capture the interplay between human and animal relationships that also come from classical art references, such as St Anthony’s Sermon to the Fish. The process of wood block printing involves carving an image onto a block of wood, inking it and pressing int onto paper or fabric. This method of art has been utilized since ancient China and has been applied in many Mexican American artist's practices.
In each of Armendariz woodblock prints, a bird appears. What do you think this symbolizes?
Mexican American Cultural Center, Courtesy of the Artist
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Richard Armendariz
n. 1969 - presente, El Paso, Texas
Ojalá pudiera dejarlo como está
2021
grabado en madera
Richard Armendariz alude a su crianza a lo largo de la frontera entre EE. UU. y México mediante el uso de mitología griega y mesoamericana. Estos grabados en madera capturan la interacción entre las relaciones humanas y animales, que también provienen de referencias artísticas clásicas, como el Sermón a los Peces de San Antonio. El proceso de grabado en madera implica tallar una imagen sobre un bloque de madera, entintarlo y presionarlo sobre papel o tela. Este método de arte ha sido utilizado desde la antigua China y ha sido aplicado en las prácticas de muchos artistas mexicoamericanos. En cada uno de los grabados en madera de Armendariz aparece un pájaro; ¿qué crees que simboliza?
Centro Cultural Mexicoamericano, Cortesía del Artista
HTMLText_E3F6DBD6_C7EA_DD99_41E3_5234FE309552.html = Rio Grande
2010
watercolor, prismacolor pencil
The Rio Grande is considered one of the important rivers in the world and is a fundamental factor in the history of El Paso and the Southwest. It is also known as the Rio Bravo and begins in the mountains of southern Colorado and extends about 1,800 miles south. The river flows south through New Mexico and travels between the Franklin Mountains and the Sierra de Juárez then it reaches the El Paso region. The river was an oasis for the many early explorers and settlers and made it possible for them to survive in the desert. The Treaty of Guadalupe Hidalgo in 1848 ended the U.S.-Mexican War and made the river the official international boundary between Mexico and the United States.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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Rio Grande
2010
acuarela, lápiz prismacolor
El Río Grande es considerado uno de los ríos más importantes del mundo y es un factor fundamental en la historia de El Paso y el Suroeste. También se le conoce como Río Bravo y comienza en las montañas del sur de Colorado y se extiende unas 1,800 millas al sur. El río fluye hacia el sur a través de Nuevo México y viaja entre las montañas Franklin y la Sierra de Juárez, luego llega a la región de El Paso. El río fue un oasis para los primeros exploradores y colonos, y les permitió sobrevivir en el desierto. El Tratado de Guadalupe Hidalgo en 1848 puso fin a la guerra entre Estados Unidos y México e hizo del río la frontera internacional oficial entre México y los Estados Unidos.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_E400792D_C7EA_DA88_41D4_CC69EE58371B.html = San Elizario Chapel
2015
watercolor, ink, prismacolor pencil
Spain established a network of presidios (military forts) to protect its’ interests in the northern frontier. The presidios included a post chapel that served the soldiers and their families. In February 1789, a presidio and chapel were established in San Elizario, originally named the Presidio Chapel San Elceario, after the French patron saint of soldiers. In 1829 a major flood destroyed the original chapel but was rebuilt and used until 1877 when the present church was built. In 1850, San Elizario was the county seat for El Paso and was one of the most important active military forts and city in the region until the railroad was built giving the city of El Paso greater importance.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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San Elizario Chapel
2015
acuarela, tinta, lápiz prismacolor
España estableció una red de presidios militares para proteger sus intereses en la frontera norte. Los presidios incluían una capilla que servía a los soldados y sus familias. En febrero de 1789, se estableció un presidio y una capilla en San Elizario, originalmente llamada Capilla del Presidio San Elceario, en honor al santo patrón francés de los soldados. En 1829, una gran inundación destruyó la capilla original, pero fue reconstruida y utilizada hasta 1877, cuando se construyó la iglesia actual. En 1850, San Elizario era la sede del condado de El Paso y fue uno de los fuertes militares activos más importantes y una ciudad de la región hasta que se construyó el ferrocarril, lo que le dio a la ciudad de El Paso una mayor importancia.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_E33E9821_C7EA_3AB8_41B5_DA37DD5A0CE9.html = Socorro Mission
2010
metal embossing on copper
The Socorro Mission, also known as Mision de Nuestra Señora de la Purisima Conception de Socorro, was founded in 1682 by the Piros, Tanos and Jemez Native Americans from Socorro, New Mexico. The Piros and Tanos settled along the Rio Grande Valley after being displaced by the Pueblo Indian uprising in northern New Mexico. The mission was built with basic Spanish mission-style elements such as the hand carved wood roof beams (vigas in Spanish) which are a major element on the structure. A beautiful hand carved wooden statue of St. Michael brought from Mexico was placed in the mission in 1838. The Socorro Mission is the second oldest mission in the El Paso region and is still in daily use.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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Misión Socorro
2010
Relieve metálico en cobre
La Misión Socorro, también conocida como Misión de Nuestra Señora de la Purísima Concepción de Socorro, fue fundada en 1682 por los nativos americanos Piros, Tanos y Jemez de Socorro, Nuevo México. Los Piros y Tanos se asentaron a lo largo del Valle del Río Grande después de haber sido desplazados por la revuelta de los pueblos indígenas del norte de Nuevo México. La misión fue construida con elementos básicos del estilo de la misión española, como las vigas del techo de madera talladas a mano, que son un elemento importante en la estructura. Una hermosa estatua de madera tallada a mano de San Miguel traída de México fue colocada en la misión en 1838. La Misión Socorro es la segunda misión más antigua de la región de El Paso y todavía está en uso diario.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_E70232D9_C83A_CF88_41E7_AFA6B38CDF52.html = Troy Montes Michie
b. 1985 - present, El Paso, Texas
Rucas
2022
acrylic, watercolor, ink, cut fabric, colored pencil, polyester thread, zippers, and digital print on canvas
Mexican American Cultural Center, Courtesy of Company Gallery
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Troy Montes Michie
n. 1985 - presente, El Paso, Texas
Rucas
2022
acrílico, acuarela, tinta, tela recortada, lápiz de color, hilo de poliéster, cierres y impresión
digital sobre lienzo
Centro Cultural Mexicoamericano, Cortesía de Company Gallery
HTMLText_E6EC8F89_C83A_D58B_41BE_3BB6A91E8270.html = Troy Montes Michie
b. 1985 - present, El Paso, Texas
Tacuche #4
2019
clothing fragments, shoe fragments, hanger with zoot suit jacket
Tacuche #7
2021
welded steel, hangers, cut fabric, cut paper, polyester thread, leather, and ink
Tacuche #8
2021
welded steel, hangers, cut fabric, cut paper, polyester thread, leather, and ink
Tacuche #10
2021
welded steel, hangers, cut fabric, cut paper, polyester thread, leather, and ink
Tacuche #11
2021
welded steel, hangers, cut fabric, cut paper, polyester thread, leather, and ink
Tacuche #13
2021
welded steel, hangers, cut fabric, cut paper, polyester thread, leather, and ink
Mexican American Cultural Center, Courtesy of Company Gallery LLC
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Troy Montes Michie
n. 1985 - presente, El Paso, Texas
Tacuche #4
2019.
fragmentos de ropa, fragmentos de calzado, gancho con saco zoot suit.
Tacuche #7
2021
acero soldado, ganchos, tela recortada, papel recortado, hilo de poliéster, cuero y tinta.
Tacuche #8
2021
acero soldado, ganchos, tela recortada, papel recortado, hilo de poliéster, cuero y tinta.
Tacuche #10
2021
acero soldado, ganchos, tela recortada, papel recortado, hilo de poliéster, cuero y tinta.
Tacuche #11
2021
acero soldado, ganchos, tela recortada, papel recortado, hilo de poliéster, cuero y tinta.
Tacuche #13
2021
acero soldado, ganchos, tela recortada, papel recortado, hilo de poliéster.
HTMLText_E415068B_C7EA_D78F_41E1_DA0B2FA27BF4.html = Union Depot
20115
watercolor, ink, prismacolor pencil
The Southern Pacific was the first railroad to reach El Paso on May 13, 1881. The arrival of the railroad to El Paso brought growth, progress and security to this small town in far west Texas. Three weeks later on June 2, 1881, the first train of the Atchison Topeka and the Santa Fe Railroad also arrived and the population grew from 781 people to 1,500. With all the railways converging in El Paso, a demand for a better railroad depot was expressed by the public and in 1903 a charter was obtained, bonds were issued, and a contract was signed. In 1906, construction of a new passenger depot was completed. Today the stately Union Depot is still in service and is also used for cultural, artistic and social events.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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Estación de Ferrocarril Unión
2015
acuarela, tinta, lápiz prismacolor
El Southern Pacific fue el primer ferrocarril en llegar a El Paso el 13 de mayo de 1881. La llegada del ferrocarril a El Paso trajo crecimiento, progreso y seguridad a este pequeño pueblo en el extremo oeste de Texas. Tres semanas después, el 2 de junio de 1881, llegó el primer tren de la compañía ferroviaria Atchison, Topeka y Santa Fe, y la población creció de 781 a 1,500 habitantes. Con todos los ferrocarriles convergiendo en El Paso, el público expresó la demanda de una mejor estación ferroviaria y en 1903 se obtuvo una carta constitutiva, se emitieron bonos y se firmó un contrato. En 1906, se completó la construcción de un nuevo depósito de pasajeros. Hoy en día, el majestuoso Union Depot sigue en servicio y también se utiliza para eventos culturales, artísticos y sociales.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_F8A98461_C83A_4ABB_41E5_904735AD12E1.html = Vick Quezada
b. 1979 – present, El Paso, Texas
ICE REMAINS
2023
ceramic, mid fire clay with white satin underglaze
Art is a liberatory practice which I have gained a deeper understanding of myself, my community, the world and the structural powers that surround us -Vick Quezada
Growing up in a strict and repressive household influenced Quezada to reflect on the alternate ways of existing, leading them to create art that speaks to structures of power. Specifically, Quezada utilizes the practice of Rasquachismo in his ceramic pieces and sculptures. Rasquachismo , a term created by Tomás Ybarra-Frausto stems from Rasquache meaning the repurposing of found objects. Rasquachismo is often used by working class Chicano and Mexican artists. This piece displays an allegory of the reoccurring political climate and attitude of immigration in the United States by repurposing cafeteria trays.
Mexican American Cultural Center, Courtesy of the Artist
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Vick Quezada
nacimiento 1979 a present, El Paso, Texas
RESTOS DE HIELO
2023
cerámica, arcilla de media temperatura con engobe (bajo esmalte) blanco satinado El arte es una práctica liberadora a través de la cual he adquirido una comprensión más profunda de mí mismo, mi comunidad, el mundo y las estructuras de poder que nos rodean. Vick Quezada.
El haber crecido en un hogar estricto y represivo llevó a Quezada a reflexionar sobre formas alternativas de existencia, lo que les inspiró a crear arte que aborda las estructuras de poder. En particular, Quezada emplea la práctica del Rasquachismo en sus piezas cerámicas y esculturas. Rasquachismo, un término acuñado por Tomás Ybarra-Frausto, proviene de Rasquache, que se refiere a la reutilización de objetos encontrados. Rasquachismo es utilizado con frecuencia por artistas chicanos y mexicanos de clase trabajadora. Esta pieza es una alegoría del clima político recurrente y la actitud hacia la inmigración en los Estados Unidos mediante la reutilización de bandejas de cafetería.
Centro Cultural Mexicoamericano, Cortesía del artista.
HTMLText_E32F0B40_C7EA_3EF8_41B9_3C891CCE3724.html = Ysleta Mission
2010
metal embossing on copper
The Ysleta Mission, also known as the Church of Our Lady of Mt. Carmel, was founded in 1682 by Franciscan padres, Spanish soldiers and Tigua Native Americans who were fleeing the Indian Pueblo revolt in northern New Mexico. These Spanish refugees and the Tiguas settled along the Rio Grande Valley and started a settlement that turned the desert into farmland. El Paso was home to many indigenous people but only the Tigua Indians stayed in this region. In 1967 the state of Texas recognized them as a Texas Indian tribe and in 1987 they received federal recognition as an American Indian tribe. The Ysleta Mission is the oldest mission in Texas and second oldest active mission in the United States.
Mexican American Cultural Center, Courtesy of the Artist
Narrative courtesy of the artist
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Ysleta Mission
2010
Relieve metálico en cobre
La Misión de Ysleta, también conocida como la Iglesia de Nuestra Señora del Monte Carmelo, fue fundada en 1682 por padres franciscanos, soldados españoles y nativos americanos Tigua que huían de la revuelta de los pueblos originarios del norte de Nuevo México. Estos refugiados españoles y los Tiguas se asentaron a lo largo del Valle del Río Grande y comenzaron un asentamiento que convirtió el desierto en tierras de cultivo. El Paso fue el hogar de muchos pueblos indígenas, pero solo los indios Tigua permanecieron en esta región. En 1967 el estado de Texas los reconoció como una tribu indígena de Texas y en 1987 recibieron el reconocimiento federal como una tribu indígena americana. La Misión Ysleta es la misión más antigua de Texas y la segunda misión activa más antigua de los Estados Unidos.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
HTMLText_E6212F67_C836_7687_41E1_42B0C99D36C9.html = Gaspar Enriquez
b. 1942 – present, El Paso, Texas
Huellas de Tejas
1997
Acrylic on Foam Board (Airbrush)
The technique of airbrushing has been utilized in Chicano mediums of art to express stylistic elements of culture just as Gaspar Enriquez does in his portraits. Airbrushing provides a softness to figures in works of art creating a recognizable style popular amongst Mexican Americans.
Born in the Segundo Barrio, Gaspar Enriquez has been making an impact within the local community as an art instructor where he taught at Bowie High School. Enriquez’s portraits range from daily people who interest him to well known Mexican American figures like Rudolfo Anaya. His work has captivated the eyes of many collectors including well known Chicano Art collector Cheech Marin.
Mexican American Cultural Center, Courtesy of the Wittliff Collections
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Gaspar Enriquez
b. 1942 – present, El Paso, Texas
Huellas de Tejas
1997
Acrilico sobre carton espuma (aerografo)
HTMLText_E68A1127_C83A_4AB8_41C3_09E8A06EA634.html = Mago Gandara
b. 1929, El Paso, Texas
d. 2018, El Paso, Texas
The Gift Giver
No Date
Bronze
Deemed the “Georgia O’Keefe of El Paso, Texas” by Hal Marcus, Mago Gandara valorized the efforts and work of Chicana artists. Like O’Keefe, Gandara’s work went beyond the confinements of labels by creating a fusion between figurative and abstraction.
Figurative art is believed to have its origins that date back to the earliest cave drawings, where real objects and human figures were depicted, while abstract art explores the opposite through the use of shapes and gestural marks to move away from direct representation. Mago made a significant impact not only with her distinct portrayals of reality but also within the borderlands through her community murals around El Paso and the former Casa Estudio Cui art school in Juárez.
Mago’s paintings, drawings, and sculptures employ a playful figurative aesthetic, sparking curiosity about their formal structure. As you look at the sculpture from different angles, what do you notice about the characteristics of the piece?
Mexican American Cultural Center, Courtesy of Pierre Hernandez
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Mago Gandara
n. 1929, El Paso, Texas
f. 2018, El Paso, Texas
MISSING
HTMLText_E289FA87_C7EA_DF87_41E0_80E91CFF1003.html = Más Que Muros Summer Camp
Lead Artist
Citlalic Delgado
MACC Summer Campers
Amai Kapenga, Luca Lucero, Frank Gomes, Allesandra Cartagena, Coraline Isaac, Santiago Loya, Belen Kamilah Berumen, Gabriel Bohorquez, Daniel Bohorquez, Diego Antonio Perez, Yolotzin De Tlalli, Cajeme Bizu Diaz, Josefina Villegas, Leyla Narvaez
MACC Education Team
Itzel Barraza, Camila Abbud, Ashley Nava-Monteros, Adriana Wilcox
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Campamento de verano
Más Que Muros
Artista principal
Citlalic Delgado
Campistas de verano de Macc
Amai Kapenga, Luca Lucero, Frank Gomes, Allesandra Cartagena, Coraline Isaac, Santiago Loya, Belen Kamilah Berumen, Gabriel Bohorquez, Daniel Bohorquez, Diego Antonio Perez, Yolotzin De Tlalli, Cajeme Bizu Diaz, Josefina Villegas, Leyla Narvaez
Equipo educativo de MACC
Itzel Barraza, Camila Abbud, Ashley Nava-Monteros, Adriana Wilcox
HTMLText_F8517CF9_C83E_5B8B_41DD_B9C7A80C6628.html = xxxxx
xxxx
xxxx
María Almeida Natividad celebra su cultura transmitiendo a través d
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Gloria Osuna Perez
n. 1947, Madera, California
f. 1999, El Paso, Texas
El Mandado
1998
acrílico sobre lienzo, coche sobre pedestal
HTMLText_FA4968DB_C836_DB88_41E8_9E6556751020.html = Mago Gandara
b. 1929, El Paso, Texas
d. 2018, El Paso, Texas
The Weaver
1996
Fiberglass
Mexican American Cultural Center, Courtesy of Pierre Hernandez
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Mago Gandara
n. 1929, El Paso, Texas
f. 2018, El Paso, Texas
El Southern Pacific fue el primer ferrocarril en llegar a El Paso el 13 de mayo de 1881. La llegada del ferrocarril a El Paso trajo crecimiento, progreso y seguridad a este pequeño pueblo en el extremo oeste de Texas. Tres semanas después, el 2 de junio de 1881, llegó el primer tren de la compañía ferroviaria Atchison, Topeka y Santa Fe, y la población creció de 781 a 1,500 habitantes. Con todos los ferrocarriles convergiendo en El Paso, el público expresó la demanda de una mejor estación ferroviaria y en 1903 se obtuvo una carta constitutiva, se emitieron bonos y se firmó un contrato. En 1906, se completó la construcción de un nuevo depósito de pasajeros. Hoy en día, el majestuoso Union Depot sigue en servicio y también se utiliza para eventos culturales, artísticos y sociales.
Centro Cultural México-Americano, cortesía de la artista
Narración cortesía de la artista
## Tour
### Description
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tour.name = Mexican American Cultural Center