Chapter 5

October 27, 2019 – January 12, 2020

Arte Sin Fronteras presented a selection of prints produced at the studio of Self Help Graphics & Art and gifted by Dr. Gilberto Cárdenas to the Blanton Museum of Art in 2017.

Since 1972, this arts center located on the east side of Los Angeles, supports the local Mexican American and Latinx communities through cultural experiences and art classes, including printmaking training for artists. Its Experimental Atelier Program, which began in 1982, invites artists to work with master printers in order to produce fine art screenprints. The Atelier promotes the professional development of the participants, encourages the formation of a market for Latinx art, and raises funds for the artists and the studio’s community-oriented programs. Self Help continues to be a mainstay in the arts of Los Angeles.

Dr. Gilberto Cárdenas, a leading collector of Latinx art, was one of the earliest supporters of Self Help Graphics. He founded Galería Sin Fronteras in Austin in 1986 to disseminate the output of the Experimental Atelier Program and assist Latinx artists. A former sociology professor at The University of Texas at Austin, he recently retired as Executive Director of the Center for Arts and Culture at the University of Notre Dame. His donation to the Blanton comprised over 350 prints that were produced at Self Help Graphics & Art between 1978 and 1997.

Arte Sin Fronteras began with a selection of works documenting the history of Self Help Graphics as a community organization. The following sections addressed themes that were central to the studio’s mission: the exploration of cultural and gender identities, the immigrant experience, and Mexican American religious traditions.

This exhibition was organized by the Blanton Museum of Art. All works included were a gift from Gilberto Cárdenas.

Borderlines

Immigration and border crossing are among the most complex and politically charged issues shaping the experiences of many Mexican American and Latinx communities in the United States. Recognizing the importance of this subject, Dr. Gilberto Cárdenas dedicated much of his practice as a sociologist and as an art collector to promote, in his words, “a deeper understanding and empathy for the experience of Mexican migrants.”

The Latinx communities around Self Help Graphics & Art, and in the Southwest in general, include people with diverse experiences of immigration and citizenship, ranging from individuals whose Indigenous ancestors lived in the area, to families that arrived in the region during the colonial period, to more recent generations who came seeking a peaceful life with better economic and educational opportunities. Sometimes families with Latin American roots must negotiate transnational lifestyles, traveling back and forth between countries. This is especially true for Mexican Americans living along the U.S.-Mexico border, a region where culture blends elements of both sides of the divide. In this gallery, artists explore immigrants’ dreams of a better life and the heartache of those caught in circumstances beyond their control and denied a legal path to citizenship.

The New Immigration [La nueva inmigración], 1988

In 1988, Sister Karen Boccalero and Gilberto Cárdenas worked together to organize this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He has also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive take on politics, immigration, and the border.

A page titled 'THE NEW IMMIGRATION' with the subtitle 'TEN ETCHINGS.' Below the subtitle, five names are listed: JOSE ANTONIO AGUIRRE GUILLERMO BERT LEO LIMON MALAQUIAS MONTOYA ALEJANDRO ROMERO.
“The New Immigration” series, 1988
A page titled 'THE IMMIGRANT'S DREAM' with text discussing the role of the United States as a land of opportunity for immigrants, focusing on Latino immigrants. The text highlights the challenges they face, their contributions to American society, and the importance of compassion, justice, and tolerance. The author is Gilberto Cardenas, Associate Professor of Sociology at The University of Texas at Austin.

“The New Immigration” series, 1988

A page with biographical information about five individuals: Jose Antonio Aguirre, Leo Limon, Guillermo Bert, Alejandro Romero, and Malaquias Montoya. The text provides details about their birthplace, education, career achievements, and personal life. The biographies are organized in a column format with the names on the left and the details on the right. The information highlights their contributions to art, their educational backgrounds, and their professional accomplishments.

“The New Immigration” series, 1988

A document titled 'SELF HELP GRAPHICS' and 'THE PROJECT.' The text provides a detailed history and mission of Self Help Graphics and Art, Inc., established in 1972 to promote Chicano art in Los Angeles. It describes the creation of an etching studio and outlines a specific etching project conceived in 1987 by Gilberto Cardenas and Sister Karen Boccalero. The project involved five artists who created prints on the theme of the new immigration, with details about the materials used and the printing process.

“The New Immigration” series, 1988

The image shows a list titled 'LIST OF PRINTS' with names of artists on the left and titles of their prints on the right. The artists and their corresponding prints are as follows: Jose Antonio Aguirre Bienvenido a los Tostados Unidos El Paso, al Reves Guillermo Bert La Partida La Partida Leo Limon La U.S.A. and the Three Diablos A Votar Malaquias Montoya Untitled Untitled Alejandro Romero Magueyes Magueyes II

“The New Immigration” series, 1988

A black and white artwork featuring an abstract, surreal depiction with chaotic and dynamic elements. On the right side, there's a distorted and stylized figure resembling the Statue of Liberty holding a torch. The background includes swirling patterns, geometric shapes, and architectural structures, creating an intense and dramatic composition with strong contrasts and intricate details.

“The New Immigration” series, 1988

An abstract, monochromatic print or etching featuring stylized human figures, architectural structures, and geometric patterns. Some figures appear behind a fence or barrier, and the background includes buildings that suggest a cityscape. The composition uses lines and shading to create depth and movement. The artwork is signed in the bottom right, with partially obscured text on the bottom left reading 'State III State of Proof.'

“The New Immigration” series, 1988

A black and white print titled 'Del Sur al Norte #1' by Guillermo Beccerra. The image shows a person carrying a large sack on their head, wearing a dress or robe. The background features a swirling pattern, creating a sense of movement. Another figure lies on the ground in the background. The edition number '24/100' is noted in the lower right corner.

“The New Immigration” series, 1988

A black and white print titled 'Del Suicid No. 2' by Guillermo Bert. The image depicts a dramatic scene with several figures. In the foreground, a person is lying face down on the ground. Another person, dressed in a long garment, stands on a set of stairs, holding a large object over their head. Surrounding them are several other figures, including uniformed officers and a person in a suit. The background features abstract shapes and outlines of buildings, adding to the intense and chaotic atmosphere of the scene.

“The New Immigration” series, 1988

A black-and-white drawing depicting two groups of people standing in front of two large ballot boxes labeled 'USA' and 'MEXICO.' Each ballot box has a hand placing a ballot with an 'X' mark into it. The two groups of people are separated by a tall, spiked pole with barbed wire and drops of liquid falling from it, symbolizing a barrier or division between the two sides. The people in the image appear to be observing the voting process, which seems to comment on political processes and the division between the two countries, possibly highlighting issues related to democracy, immigration, or international relations.

“The New Immigration” series, 1988

An intricate black-and-white drawing with surreal and abstract elements. On the left side, a large head with a star on its forehead and an open mouth is depicted. Above the head, an eagle's head faces left. The artwork also features three large, toothy mouths with pointed teeth in the upper middle section, various smaller figures scattered throughout, some appearing to run or move, and a background filled with abstract shapes and patterns. The image blends human and animal elements with imaginative, possibly symbolic imagery.

“The New Immigration” series, 1988

An abstract black and white sketch of a face. The face is partially obscured and appears to be emerging from a background of dense, cross-hatched lines. The sketch is highly textured, with heavy use of shading and line work to create depth and contrast. One eye is prominently visible while the other is partially hidden, adding to the intriguing and expressive nature of the artwork. The overall composition draws the viewer's attention to the detailed rendering of the face amidst the chaotic background.

“The New Immigration” series, 1988

An abstract drawing featuring a large, leaf-like structure with pointed edges. Draped over the structure is a cloth patterned with stars, reminiscent of the American flag. A barbed wire fence runs horizontally across the middle, with another barbed wire element at the bottom. The background consists of curved lines and scribbles, enhancing the abstract nature of the artwork. The piece is signed and dated 1988 at the bottom, with a notation indicating it is number 3 out of 100 prints.

“The New Immigration” series, 1988

A black and white print depicting a muscular figure wielding a large tool, possibly a hoe or a scythe, in a dynamic and intense pose. The figure appears to be engaged in a struggle or battle, surrounded by chaotic and swirling forms that resemble plants, animals, or other figures. The background includes a fence and a landscape with a dramatic sky. The artwork is highly detailed and expressive, with strong contrasts and intricate line work.

“The New Immigration” series, 1988

An abstract black and white etching on a beige background. The etching features intricate, chaotic lines and shapes, with some elements resembling human faces and figures. The artwork is signed at the bottom with the name 'Alejandro Xul Solar' and the year '1988.' The number '31/100' is also written, indicating that this is the 31st print out of a limited edition of 100. The etching's complexity and abstract nature make it interesting and open to various interpretations.

“The New Immigration” series, 1988