Sam Coronado

Quince

2008

Serigraph

35.5 x 24.5 inches

Edition of 13

$1,200 Framed $1,050 unframed

The bull in Sam Coronado’s print, Quince, is a symbol of strength as well as the suffering and struggle

of survival. The bull’s muscles and aggressive stance show his power, as the red background conveys

passion and reminds the viewer of a matador’s cape. Coronado is reminded of the strength of the

artist’s involved in the Serie Project and the power of the message that the Project can send to the art

world. The struggle of a bull in the bullring is also parallel to the struggle of an artist to become

successful. Facing the matador, the bull has little chance of survival. He suffers through the pain of

the fight only to be killed as a triumph of the matador. Like the bull, artists struggle through hard

times and many never know success.

Sam Coronado was born in Ennis, Texas and was raised between there and Dallas. He eventually

studied in Austin and received a Bachelors of Fine Arts from the University of Texas. His work has

been widely exhibited throughout the United States, Mexico, Europe, and Africa. He is currently a

professor of drawing, painting, and color theory in the Visual Communications department at Austin

Community College.

Celia Alvarez Muñoz

Quince

2008

Serigraph

17 x 22 inches

Edition of 48

$600 framed, $450 unframed

Celia Alvarez Muñoz collected many images for inspiration on her print Quince: traditional

quinceañera tiaras, contemporary tattoos, and graffiti books. She calls this “visual shopping” and

keeps the clippings around her home and her studio to constantly aid her image development. “You

have to allow the work to tell you what it wants to be,” says Muñoz of her creative process.

In her artwork, the word “quince” is curved into an arch to mimic the shape of a tiara, while the

gradation of color within the letters is like the unveiling or presentation of la quinceañera at her

celebration. Scroll designs decorate the Helvetica font in the same way young women decorate

themselves with cosmetics and fancy clothing for their quinceañeras. Scrolls also prevent the letters

from appearing dull, for Muñoz realizes that artists “are always entertaining the eye as well.” The red

rose, a traditional tattoo image, is symbolic of coming‐of‐age. It carries sweet and sexual innuendos

such as the rose opening from a small bud or the deflowering of a young woman, both paralleling a

quinceañera’s development. The scrolling vines mimic the elaborate decorations on tiaras. Also,

according to Muñoz, vines grow and attach themselves to new things the same way a young woman

will step outside of her family to form new roots. The blue bird represents fertility, as birds help

spread seeds. To Muñoz, getting a tattoo and celebrating one’s fifteenth birthday are both rights of

passage. She placed the tattoo on the lower back because “it’s really sexy and…that’s what that age is

about…sexual awakening.”

Celia Alvarez Muñoz, a pioneer in the Chicano Art Movement of the 1960s and 70s, was born in El

Paso, TX. She received her B.A. from the University of Texas at El Paso in 1964 and her M.F.A. in 1982

from the University of North Texas. Muñoz participated in Serie V, creating the print Tolido. And no,

she does not have any tattoos of her own.

Quintin Gonzalez

Chicano 15

2008

Serigraph

16 x 22 inches

Edition of 52

$525 framed, $375 unframed

The “Luchador” in Quintin Gonzalez’s print Chicano 15 is an image that invokes nostalgia and joyful

memories of youth for Chicano viewers. The Luchador is a fighter who performs in the Lucha Libre, or

free fights, popular in Mexico. Gonzalez sees the Luchador as a hybrid of an actual individual and a

fantastic heroic image, as they have the dual role of masked acrobatic grapplers in the wrestling ring

and also superheroes fighting monsters, aliens, and other strange nemesis in modestly budgeted

films and comic books. The Luchador, with his bizarre adventures and wonderful absurdity, serves as

an escape from everyday banalities and hardships of life and becomes a modern myth in Chicano

culture.

Gonzalez expresses rebellion, which he considers to be a core value within the Chicano experience,

through the enigmatic title of his painting. He resists the viewers expectation that the title will

explain the image. The font, familiar in tattoos and various urban images, is also a reminder of the

resistance common in Chicano culture. Gonzalez pieces together visual elements of the marginalized

Chicano culture and elevates them with modern formal manipulation and design.

Quintin Gonzalez was born in Laredo, Texas. His interest in painting and drawing led him to pursue a

BFA in painting at the Kansas City Art Institute and an MFA in painting and printmaking from the

Yale School of Art. He now serves as an Associate Professor of painting and drawing at the University

of Colorado Denver.

Alma Lopez

El Vals de las Mariposas

2008

Serigraph

16 x 21.75 inches

Edition of 46

$525 framed, $375 unframed

“A spirit, a dream, or a wish…or a hope” is how Mexican‐born Chicana artist, activist, and visual

storyteller Alma Lopez describes the central figure in her print El Vals de la Mariposas. This title is

shared with a waltz that is commonly performed at quinceañeras, a party celebrating the fifteenth

year of a young woman’s life. Along with the waltz, Lopez addresses multiple traditions with a

complex symbolism that characterizes her artwork.

Traditionally, 15 couples perform the quinceañera waltz. In El Vals de la Mariposas, 15 butterflies

dance toward the viewer from behind the moon and around the central couple in a flurry of activity

that mimics the youthful energy of party‐goers at a quinceañera. The butterflies depicted are of the

Viceroy species, which Lopez chose because of its similarities to the struggles of the Latin‐American

immigrant population. Lopez’s original plans included the Monarch butterfly because of its migration

patterns between the United States and Mexico; this pattern parallels how naturally Mexicans and

other Latinos travel back and forth over a political border. This border is not strong enough to deter

the fragile butterfly from maintaining such an ingrained migration pattern just as it is not strong

enough to inhibit the genetic memory of people who have long traveled across the land. The Viceroy

butterfly resembles the Monarch to vicariously benefit from its natural defense of tasting bitter to

predators. For Lopez, “the Viceroy stands for difference and queerness, even within a community.”

The couple dancing on the moon represents la quinceañera and her chambelán, or escort and dance

partner for the quinceañera. Lopez’s work frequently features images of the Virgin of Guadalupe and

La Sirena. The images of La Sirena and the moon are both from the traditional Mexican game lotería.

Although La Sirena as la quinceañera does not don the traditional formal gown, she does wear a tiara.

Comprised of roses, the tiara alludes to the legend of the appearance of the Virgin to an indigenous

boy in 16th‐century Mexico. Lopez reconfigured the Virgin to represent el chambelán by dressing her

in male attire with the stars and floral designs that commonly adorn her feminine robes. Lopez also

depicts the Virgin with short hair, making her an androgynous chambelán. Like the ambiguous

appearance of the Viceroy butterfly, the chambelán’s gender is vague. Even her existence is vague, as

she is composed of outline only, careful to not deflect attention away from the true reason for the

celebration: la quinceañera.

Alma Lopez received her BA from UC Santa Barbara (1988) and MFA from UC Irvine (1996). She

created the print La Llorona Desperately Seeking Coyolxauhqui for Serie X in 2003. Lopez currently

lives in Los Angeles, where she helped co‐found three organizations: L.A. Coyotas, Tongues, and

Homegirl Productions.

Ester Hernandez

Sun Raid

2008

Serigraph

20 x 15 inches

Edition of 50

$600 framed, $450 unframed

In Sun Raid, Ester Hernandez transforms a familiar raisin box to make a statement about the

situation many farm workers are facing in the United States. The wholesome face normally found on

the front of the box is changed into a skeletal farm worker wearing a huipil, a native Mexican dress.

She wears a security‐monitoring bracelet labeled ICE, for the Immigrations and Customs Agents,

signifying looming deportation. Messages on the box are changed to read “Product of NAFTA,” and

“Deportation Guaranteed.” Hernandez uses the names of Mexican indigenous groups from the Oaxaca

area because they make up a large number of farm workers in the United States. She hopes her work

provokes a dialogue about the issues that effect a population that is often invisible to the mainstream

public. Her concern for farm workers can be seen in a similar image she created 27 years ago, titled

Sun Mad. She transformed the same raisin box into a statement about the overuse of pesticides and

the effect it has on our bodies and environment.

Ester Hernandez was born in California in a family of six children to farm worker parents. She

received her Bachelors in Art Practice from the University of California, Berkeley and now lives in

San Francisco.

Benito Huerta

Shock and Awe

2008

Serigraph

14 x 22 inches

Edition of 50

$525 framed, $375 unframed

Benito Huerta’s print for Serie XV reinterprets the phrase “shock and awe." The print consists of

three layers; a digital countdown from fifteen, a reference to the Serie Project’s Quinceañera, is

overlaid on top of a mushroom cloud from an atomic bomb explosion. Juxtaposing a nude young

woman’s form, a visual quote from Gauguin’s Spirits of the Dead Watching, Huerta connects the

notion of shock and awe as it relates to war with the viewer’s reaction to nudity. Huerta feels that one

may feel horror at the sight of a destructive atomic blast while being fascinated with the cloud’s

beauty. Similarly, people in today’s society are shocked when confronted with nudity but the taboo

also inspires awe.

Shock and Awe is part of a series Huerta created that update famous paintings by adding tattoos and

piercings to the subjects to make them more relevant in today’s world. Tattoos catch the viewer’s eye

and contemporize Gauguin’s nude. One tattoo stands out against the pink: an image of a skull and

yellow rose mimics the shape of the deadly cloud in the background and encapsulates the ideas of life

and death.

Matthew Rodriguez

In the second grade…

2007

Serigraph

22 x 16 inches

Edition of 50

$525 framed, $375 unframed

Austin native Matthew Rodriguez has been experimenting with monster and cartoon images since he

was a child and continues to explore these subjects in his art today. A self‐taught artist, he describes

his work as being “little kid drawings” and hopes his work injects a touch of comedy into viewers’

lives. Rodriguez draws inspiration from a vintage Trix Cereal box in his print In the Second Grade...,

where a seemingly sweet girl walks a rainbow monster on a leash as if it were her dog. The idea for

this print originally came from a proposal for the New York City Deitch Art Parade in which

Rodriguez planned to participate in by recreating his print into real life. While drawing is his

preferred medium, Rodriguez plans to continue working with the silkscreening process and

hopefully create prints that incorporate images from cartoons he watched as a child. His art has been

showcased in Austin, Los Angeles, New York, and San Francisco among other cities.

Delilah Montoya

Los Dos Corazones

2007

Serigraph

16 x 19 inches

Edition of 43

$600 framed, $450 unframed

Born in Fort Worth, Texas, Chicana artist Delilah Montoya masters the mediums of painting, printing,

and photography. Montoya’s art mostly focuses on Chicano culture, and she uses her art as a vehicle

for exploring her identity as a Chicana woman. In her print Los Dos Corazones, Montoya pays homage

to her lifelong friend, renowned sculptor Luis Jimenez, who passed away in 2006. In the locket,

Montoya uses a photograph of Jimenez that she took in 2005 when they were hiking outside of his

ranch in New Mexico. The other images in the print are mementos that Montoya and Jimenez shared

in real life such as the rose petals whose beauty they both observed once outside her home and the

locket and charms that were gifts from Jimenez to Montoya. “Luis was a very warm, caring individual,

and I hope people can get this sense of him when looking at this print,” she says. Her work has been

exhibited throughout New Mexico, Texas, New York, California, France, and Mexico. Montoya has an

MA from Printmaking and an MFA in Studio at the University of New Mexico at Albuquerque, and she

current teaches photography and digital design at the University of Houston.

Sodalitas

Coastown, TX, 2006

Screenprint

23.5 x 18 in

Edition of 60

$525 framed, $375 unframed

Traditional fine art requires the subjective interpretations of individual artists. As such, each piece of

work is a reflection of one person conveying a message to many. But in the 21st century, traditional

fine art has gotten a facelift with the collaborative efforts of Austin's Sodalitas. Sodalitas comprises

three artists producing art as one who hope to discover the dynamics of group cohesion, the role of

individuals within groups, and the point (and reasons) for a group to begin working against itself.

The trio joined forces in 2002 to address their intrigue in "group art" using their respective mediums

ranging from paints and sketches to scans and eclectic maps of the Austin area. Their mission is to

explore new ways of working together, driven by the idea that artwork created by three is accessible

to more audiences that artwork made by one. Their pieces are often colorful, playful and inspired by

urban sprawl, war, advertising, and science. For Serie XIII, Sodalitas created Coastown, TX, a unique

view of the Austin skyline from across Town Lake. Coastown, TX is the Serie Project's most ambitious

work to‐date because it not only incorporated 30 colors of paint, but also required a calculated effort

by the artists to communicate their vision to Serie's master printer, Paul Fucik. Layer‐by‐layer, and

color‐by‐color, the cityscape unfolds as viewers are drawn to the shores of this polluted horizon.

References to Austin's bats and water tower can be seen alongside the faint abstractions of three

figures emerging from the print. For a step‐by‐step process of the making of Coastown, TX, visit

http://www.sodalitasart.com

Jacquiline May

The Bee Star, 2001

Screenprint

22.25 x 16 in

Edition of 50

$525 framed, $375 unframed

Born in Fort Worth, Texas, Jacqueline May earned her B.F.A. at the University of North Texas in

Denton. Of this print she explains, "I have long been fascinated by social insects and the parallels

between the insect societies and our own. Bees are workers, and they produce both sweetness and

pain. In Mayan mythology, the Bee Star refers to Venus. Amused by the juxtaposition of bees with the

goddess of love, I created a piece in which labor, reproductive processes, sweetness, and stings

inhabit a human heart."

Roberto Munguia

Reza

2006

Serigraph

15 x 20.5 inches

Edition of 58

$525 framed, $375 unframed

Speaking about the production/creation of Reza, Kingsville artist Roberto Munguia says, "The print

continues a series of images I started in 1995. This series is primarily an exploration of color in form,

but also deals with relationships of the heart. I have introduced a new element with this print: a

Byzantine mosaic, which ties this particular image to my Christian heritage." Munguia received his

B.F.A. from the University of Texas at Austin, and his M.A. and M.F.A. from the University of Dallas.

Kathy Vargas

Innocent Age

2006

Serigraph

22 x 18 inches

Edition of 52

$675 framed, $525 unframed

Kathy Vargas knew she would be a photographer when she first saw a picture develop in a darkroom

in 1971. As the exposed silver washed away from the paper to reveal her image, Vargas was hooked

to the medium. Six months later, she ditched her aspirations of painting and picked up a camera and

has since devoted her life to photography. In her 35 years as a photographer, Vargas has explored

ways of making her work accessible to "regular people." For Serie XIII, Vargas recreated a handcolored,

gelatin silver print entitled Innocent Age, one photograph of a series capturing the essence of

people she knows through images of their childhood. In Innocent Age, Vargas borrowed a picture of a

friend's father who was the late Texas Senator Gregory Luna. The image shows a young Luna riding a

tricycle that's too small for him in a yard that indicates Luna's humble beginnings. Vargas chose to

use the image based on her question of what it takes to raise an emotionally happy child:

"Sometimes, even when you've got a tricycle that you've outgrown because maybe your family can't

afford a new bike and there's calzones (long underwear) hanging from the clothesline, you've still got

enough to succeed if you've got the love and support of your family." Vargas complements the

photograph with a layered frame that is meant to reveal more about the subject because, according

to the artist, "people still expect photography to tell them the truth and they expect photography to

preserve their memories. Photographs are the truth, but not the whole truth, and every time you look

at a photograph it's everybody's memories getting layered on it."

Vargas received her Bachelors of Fine Arts in 1981 and her Masters of Fine Arts in 1984 from the

University of Texas at San Antonio. She currently resides in her hometown of San Antonio and is

completing her Innocent Age series.

Tony Ortega

La Marcha de Lupe Liberty

2006

Serigraph

23 x 16 inches

Edition of 50

$600 framed, $450 unframed

What is the Latino experience in the United States? Is it the farm worker unfairly paid? Is it the

grandmother making tortillas for dinner? Or is it children gathering around the popsicle street

vendor? For Colorado artist Tony Ortega, the Latino experience is all these things and much, much

more. Ortega draws from individual slices of life to create artwork centered on family and

community‐what he considers the two major components of the Latino. Moreover, each piece of art

he makes adds to the dynamic culture he works with exclusively, an active and vital part of American

society that Ortega feels goes too unnoticed. Ortega brings these concepts of family and community

out of the shadows and into this year's Serie Project with La Marcha de Lupe Liberty. In it, he digitally

combined images of the Statue of Liberty and of Our Lady of Guadalupe, two of the most recognizable

icons from the United States and Mexico. Ortega wished to create a figure with relevance to both

cultures as a backdrop to a marching crowd in the foreground. The juxtaposition of the real with the

iconic gives a view of the current state of immigrant relations in the United States. Ortega got the idea

for the image when he attended a 2006 Denver rally in support of immigrant rights and in reaction to

a proposed federal bill to deport illegal immigrants. His "marchers" are faceless to convey Ortega's

concept of community because "we can put our friend's faces‐our own faces‐to complete the piece."

Ortega was born in Santa Fe, New Mexico and grew up between his birthplace and Denver. He

received a Masters of Fine Arts from the University of Colorado at Boulder in 1995 and is currently

an assistant professor of fine art at Regis University.

John Hernandez

Summer Totem

2005

Serigraph

15 x 23 inches

Edition of 50

$600 framed, $450 unframed

A native of San Antonio presently residing in Dallas, artist John Hernandez received a Bachelor of

Arts from Our Lady of the Lake University in San Antonio. Later, he earned his Master of Fine Arts

from North Texas State University in Denton, Texas. In 1989, he received an artist's grant from the

National Endowment for the Arts. His work has been widely exhibited. His style is humorous and

personal. His bold and aggressive characters mimic such sources as horror movies, cartoons, comic

books, and album covers.

Celina Hinojosa

Andaba Perdida

2003

Serigraph

15 x 22 inches

Edition of 50

$600 framed, $450 unframed

Celina Hinojosa began her artistic career as a pianist at the age of eight, but was drawn to paint years

after beginning her music studies. She sold her first painting at the age of sixteen. Her formal art

education began at Texas Southmost College in Brownsville, where she studied with George Truan. In

1985, she received her BFA at the University of Texas at Austin where she interned with illustrator

Tom Curry. She continued her studies at Texas A & I University, earning her MS in art in 1991. Her

career took her through various paths as lecturer, illustrator, instructor, and freelance artist. For

several years she was employed as an illustrator of children's books. Then, in 1996, Hinojosa

returned to her original dream, to work as a serious painter. She paints subjects closely linked to life

in the Rio Grande Valley, recording vignettes and scenes of daily living. Putting faces to everyday

activities, such as cooking or passing time in a cantina, brings specificity and truth to what otherwise

might be a forgetful moment.

Francisco Delgado

Catharsis I

2004

Serigraph

16 x 22 inches

Edition of 50

$600 framed, $450 unframed

The sounds of fans cheering and booing, yelling and echoing into the distance, are all emotions

conveyed through much of Francisco Delgado's paintings. Born in Juarez, Mexico, Delgado strives to

convey the border life he grew up knowing since his birth in 1974. Immersed in immigration, racism,

and bi‐cultural disconnectedness, Delgado deals with border life's harsh realities by making art.

While attending UT El Paso, Delgado also dealt with and confronted his university's curriculum

which emphasized European art‐a reality he strives to incorporate into his artwork to this day: "My

reaction was to appropriate Mexican icons into Renaissance paintings." Furthering his political

interests, Delgado eventually started to explicitly address border life problems through his images. In

2000 Delgado received his BFA from UTEP, and within two years received his MFA from the Yale

School of Art. While there, he got the chance to expand his artistic toolkit with stencils, reliefs, and

stone lithography. The distance from his home, though, didn't keep Delgado away from painting,

either‐or from exhibiting and even teaching. Despite his studies abroad, Delgado continues to depict

much of the life he grew up knowing all too well‐depictions that strive to do more than just point out

victims of racism, social inequalities, and injustice. "The purpose of my art is not to persecute anyone,

but to expose problems within our community," Delgado says. "It is necessary for us to identify our

failures before any significant positive changes can take place."

Ramiro Rodriguez

Anhelo

2004

Serigraph

24 x 16 inches

Edition of 65

$525 framed, $375 unframed

"A cross‐legged male figure plunges into deep blue water holding an undisclosed object tightly in his

arms." So describes Ramiro Rodriguez his Serie XI print entitled Anhelo (Longing), a continuation of

the symbolic qualities of water he often depicts in his compositions. A proponent of the power art can

present to viewers, Rodriguez uses water as symbols for unconsciousness, the femininity, birth,

healing, and transformation. Born of Mexican parents in Douglas, Michigan, Rodriguez's art career

has flowed nicely since receiving his BFA in 1990 from Kendall College of Art and Design in Grand

Rapids, Michigan. Already a part of several group exhibitions, Rodriguez used his knack for artistic

expression and applied further to his studies: this time, to the University of Cincinnati's School of

Design, Art, Architecture and Planning where he gained his MFA in 1993. Within the next ten years

Rodriguez presented over twenty exhibitions throughout the mid‐west as well as in Los Angeles. His

mediums, influenced by Dutch and Spanish painters, include watercolors, oils, woodcuts, and

computer generated images. A former instructor and exhibition preparator, Rodriguez's art career is

one that, like the water he seeks to use in his work, is ever changing. In 2004 Rodriguez applied for a

new career, though some would consider it more a gift than a job: fatherhood, which he shares with

his wife in their hometown of residency in South Bend, Indiana.

Cruz Ortiz

Darling

2002

Serigraph

21 x 16 inches

Edition of 50

$675 framed, $525 unframed

Cruz Ortiz majored in Fine Arts at San Antonio College, and earned his BFA from The University of

Texas at San Antonio. He is active in art education and in making art available in public places, and is

currently an art instructor at Healy‐Murphy Center, Alternative High School in San Antonio, Texas. In

addition to printmaking, he also works in video and performance art. The theme of his work takes on

the form of a love‐hate relationship between people living in the post‐Movimiento period and the

Euro‐centric society they live in. The consequences of such a relationship are the subjections of

traditional Chicano iconography to past stereotypes and challenges of authenticity.

Vincent Valdez

Round 10

2002

Serigraph

22 x 16 inches

Edition of 50

NFS

Born in San Antonio, Texas, artist Vincent Valdez earned his B.F.A. at the Rhode Island School of

Design in Illustration. Recently his work has been featured at Mexic‐Arte Museum and he will have

work included in a traveling exhibit sponsored by the San Antonio Museum of Art, Chicano Visions:

American Painters on the Verge, from the Collection of Cheech Marin.

Alma Lopez

La Llorona Desperately Seeking Coyolxauhqui

2003

Serigraph

22 x 16 inches

Edition of 60

NFS

California artist Alma Lopez was added as a special edition of Serie X. Lopez came to Coronado Studio

as part of the SALA Project (West San Antonio Meets East Los Angeles). Her print La Llorona

Desperately Seeking Coyolxauhqui addresses the murders of women and girls on the US‐Mexican

border. For over ten years, more than 300 young women and girls have been found tortured and

murdered in Juarez, Mexico. Many more are still missing. The print is pink, alluding to the black

crosses on pink backgrounds painted by families and friends to represent a missing young woman or

girl in Juarez. The background represents the mothers; the Virgen of Guadalupe (the background

design of her dress), la Llorona (the silhouette), and the Coatlicue (the necklace). The female figure

with the Coyolxauhqui engraved on her chest represents the daughters. The flowers in the

foreground represent an offering to an altar or a funeral and the plucking of lives.

Gaspar Enriquez

QVoWay

1998

Serigraph

16 x 22 inches

Edition of 36

NFS

"This image deals directly from daily experiences with the people I know, individuals who remind me

of friends and people I grew up with. It is not a crusade to change lives or lifestyles, but a record of

experiences, ideas, and feelings about a subculture that has endured in the Mexican‐American life

since the second World War. This lifestyle has been passed from generation to generation. It has

survived wars, prisons, and various other elements. My portrayal of these individuals and their

lifestyle is neither positive nor negative. My interpretation is subjective and with the viewers,

interpretation depended on his or her experience with this lifestyle."

Juan Miguel Ramos

Virtual Tejanos, 2002

Screenprint

16 x 22 in

Edition of 50

$675 framed, $525 unframed

Juan Miguel Ramos received his BFA and MFA from The University of Texas at San Antonio. He is also a

musician (currently a member of Sexto Sol) and co-founder of San Anto Cultural Arts. In his work, he uses

a Sharpie marker to depict Mexican Americans as he sees them in life, not as characters, but as "the

likenesses of actual friends and acquaintances from photographs I have taken." In this kind of documentary

fashion he portrays his subjects as complex and layered, as "pocho, Tejano, indigenous, mainstream

american, mexican, punk rocker, and xicana/o all at once."

Santa Barraza

Cihuateteo con Coyalxauhqui y La Guadalupana

1996

Serigraph

16.5 x 22 inches

Edition of 44

NFS

"My artwork becomes a manifestation of a struggle to create a new American identity, affirming

cultural congestion and survival. I express my experience as a Mexica Tejana, a Chicana, occupying,

interpreting, defining, and living in a unique space of disassociation of identity, enriched with culture

and legends." A graduate of the University of Texas at Austin with an MFA in painting and drawing,

artist Santa Barraza now teaches at the School of the Art Institute of Chicago. She has received

numerous grants and awards for her work, and has traveled across the country lecturing on Chicano

and Latino art.

Leticia Huerta

Padre Nuestro

1996

Serigraph

18 x 16.25 inches

Edition of 34

$750 framed, $600 unframed

"An important aspect of my work is the sense of labor involved in creating it. I am working with

construction materials that I have been interested in since childhood. My father was a carpenter. I

incorporate these building materials as well as others like shell, tin, gold leaf, paper, photos, and

paint. Recycling of materials is another idea taken from my father's manner of working. The image of

the cross is employed in this as well as many of my other constructions. It refers to my Mexican

Catholic experience that is both Christian and pagan." Huerta received her BFA from the University of

Texas at San Antonio and her MFA from Southern Methodist University in Dallas.

Rolando Briseño

Bicultural Tablesetting

1998

Serigraph

16 x 22 inches

Edition of 53

$1,125 framed, $975 unframed

Rolando Briseño was born in San Antonio, Texas in 1952. He attended The National Autonomous

University of Mexico in Mexico City for a summer session on scholarship before going to New York

City to attend Cooper Union. He then transferred to the University of Texas at Austin where he

attained two degrees: a B.A. in Art History and a B.F.A. in Art. Rolando received a M.F.A. from

Columbia University in 1979. His work is included in such museum collections as the Brooklyn

Museum, the Bronx Museum, El Museo del Barrio in New York City, the Corcoran Gallery in

Washington, D.C., and the Houstatonic Museum in Bridgeport, CT.

César Martínez

Untitled

1995

Serigraph

16 x 16.5 inches

Edition of 44

NFS

Born in Laredo, Texas, Cesar Martinez now lives and works in San Antonio. Regarded as a major

contributor to the Hispanic art movement, he has received international recognition through

exhibitions such as Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors

(1987). He has exhibited throughout Texas, has been nationally reviewed, and is represented by

galleries in Austin, New York and San Antonio.

Fidencio Duran

Dejo Flores y Canciones

1994

Serigraph

16 x 22 inches

Edition of 50

$675 framed, $525 unframed

Austin artist Fidencio Duran is a graduate of the University of Texas in Austin with a BFA. He is the

recipient of various awards, including recognition from the Dallas Museum of Art, Art at Large, the

Austin Visual Arts Association, and Laguna Gloria Art Museum. Duran has instructed students of

painting and drawing at Southwest Texas State University in San Marcos, Texas.

Sam Coronado

Dos Mundos

1993

Serigraph

14 x 20 inches

Edition of 12

$1,125 framed, $975 unframed

Born and raised in Texas, Austin artist Sam Coronado studied art at the University of Texas at Austin,

where he received a B.F.A. His work has been widely exhibited throughout the United States, Mexico,

and Africa. Coronado is an Associate Professor at Austin Community College as well as the founder of

Coronado Studio and the Serie Print Project.

Carlos Gómez

Llanto

2000

Serigraph

16 x 22 inches

Edition of 50

$525 framed, $375 unframed

Brownsville artist Carlos Gomez earned his B.F.A. from Pan American University and his M.F.A. at

Washington State University. Gomez refers to his style of work as "Social Abstract Surrealism" and

describes this print as a "young bird symbolic of children's desperation in a world with uncertain

outcomes. In this case, one left all alone, and his llanto never to be heard by any one except him."

Pio Pulido

Untitled

1994

Serigraph

22 x 15.5 inches

Edition of 44

$750 framed, $600 unframed

Born and raised in Mexico City, artist Pio Pulido is one of the co‐founders of the Mexic‐Arte Museum

in Austin, Texas, and was instrumental in acquiring various exhibits, including works by Diego

Rivera. His work has been exhibited in the United States and Mexico. Pulido's work is abstract

expressionist in nature and incorporates vivid color in visual as well as tactile textures.