With: Néstor David Pastor, Gabriel Magraner, and Nikki Myers

Contributors. Joseph Anthony Cáceres, Taína Caragol, Arnaldo M. Cruz-Malavé, Deborah Cullen-Morales, Arlene Dávila, Kerry Doran, Elizabeth Ferrer, Yomaira C. Figueroa-Vásquez, Al Hoyos-Twomey, Teréz Iacovino, Johnny Irizarry, Johana Londoño, Urayoán Noel, Néstor David Pastor, Yasmin Ramirez, Melissa M. Ramos Borges, Raquel Reichard, Rojo Robles, Abdiel D. Segarra Ríos, Wilson Valentín-Escobar

A Handbook of Latinx Art is the first anthology to explore the rich, deep, and often overlooked contributions that Latinx artists have made to art in the United States. Drawn from wide-ranging sources, this volume includes texts by artists, critics, and scholars from the 1960s to the present that reflect the diversity of the Latinx experience across the nation, from the West Coast and the Mexican border to New York, Miami, and the Midwest.

The anthology features essential writings by Mexican American, Puerto Rican, Cuban American, Dominican American, and Central American artists to highlight how visionaries of diverse immigrant groups negotiate issues of participation and belonging, material, style, and community in their own voices. These intersectional essays cut across region, gender, race, and class to lay out a complex emerging field that reckons with different histories, geographies, and political engagements and, ultimately, underscores the importance of Latinx artists to the history of American art.

The Day of the Dead is a comprehensive, visual compilation of all forms of artistic material celebrating the world-famous annual Mexican festival. According to Mexican tradition, one day in the year belongs exclusively to the dead, a day on which they are granted celestial permission to visit friends and relatives on earth. In modern Mexico, festivities for the dead are idiosyncratic. Blending pre-Christian and Christian elements, celebrations for All Saints' and All Souls? are unique in the Catholic world. Mexicans are as tormented by the idea of mortality as other nations, yet they honour and receive the departed with good cheer, visual splendour and imagination. Families welcome the returning souls with flowers, incense, candles and special foods. This is not a sombre occasion, but a time of feasting and reunion.

This anthology considers how the Day of the Dead has been celebrated in visual art and culture, from the traditional and iconic illustrations of skulls and singing skeletons by seminal lithographer José Guadalupe Posada to the paper cuts of Aaron Velasco Pacheco and representations of the festival by Diego Rivera and Frida Kahlo and in the folk art of the Linares family.

Curated by Julian Rothenstein and written by Chloë Sayer, an independent scholar and curator, specializing in Mexican art and culture, this is a must-have book for anyone interested in this extraordinary cultural event and its artistic representation.

The life and work of a celebrated multimedia artist, cultural and feminist theorist, and community organizer

Amalia Mesa-Bains has garnered international recognition for multimedia installations that evoke the Chicana experience. This lively book recounts pivotal moments from her life, career, and collaborations, examining the intertwined worlds of Latinx culture, social movements, and contemporary art.

Esteemed cultural historian Tomás Ybarra-Frausto relates Mesa-Bains's life to contemporary events and her artistic and intellectual production to her concept of domesticana (a feminist interpretation of rasquachismo) and her mestiza identity. He demonstrates how the Chicano Movement attuned the artist to her Mexican heritage, sparking her interest in the traditional home altars that became the aesthetic and cultural inspiration for her installation art.

Employing detailed descriptions and analyses of key works, this book is an art historical biography-memoire, offering a uniquely personal understanding of Mesa-Bains's prolific artistic practice and situating her life and art in the cultural and political milieu of the United States since the 1960s.

Distributed for UCLA Chicano Studies Research Center Press.

Although the word Chicano once held negative connotations, students--along with civil rights activists and artists--adopted it in the late 1960s in order to reimagine and redefine what it meant to be Mexican American in the United States. Chicanismo is the ideology and spirit behind the Chicano Movement and Chicanismo unites the artists whose work is revealed and celebrated in this book.

Jackson's scope is wide. He includes paintings, prints, murals, altars, sculptures, and photographs--and, of course, the artists who created them. Beginning with key influences, he describes the importance of poster and mural art, focusing on the work of the Mexican artist Jos Guadalupe Posada and the significance of Mexican and Cuban talleres (print workshops). He examines the importance of art collectives in the United States, as well as Chicano talleres and community art centers, for the growth of the Chicano art movement. In conclusion, he considers how Chicano art has been presented to the general American public.

As Jackson shows, the visual arts have both reflected and created Chicano culture in the United States. For college students--and for all readers who want to learn more about this fascinating subject--his book is an ideal introduction to an art movement with a social conscience.

Broken Boxes: A Decade of Art, Action, and Dialogue celebrates ten years of Ginger Dunnill's podcast of the same name and exalts the intersectionality of contemporary artists. Intersectionality studies the overlapping and intersecting social identities and related systems of oppression, domination, and discrimination. Here are twenty-three extraordinary artists bringing the creativity of their processes and identities to life in the Albuquerque Museum's exhibition and in this accompanying book. Broken Boxes delves deeply into the realm of intentionality, challenging not just how artists create, but why. And Broken Boxes--the podcast, the exhibition, and the book--thrives on bringing artists together in dialogue with each other through the artist's own words. This book provides an opportunity to introduce the larger public to artists committed to creating, sustaining, and encouraging solidarity. By opening up the conversations across communities, groups, art practices, materials, and shared space, we hope to demonstrate how artists are forging new forms of action.

Broken Boxes: A Decade of Art, Action, and Dialogue celebrates ten years of Ginger Dunnill's podcast of the same name and exalts the intersectionality of contemporary artists. Intersectionality studies the overlapping and intersecting social identities and related systems of oppression, domination, and discrimination. Here are twenty-three extraordinary artists bringing the creativity of their processes and identities to life in the Albuquerque Museum's exhibition and in this accompanying book. Broken Boxes delves deeply into the realm of intentionality, challenging not just how artists create, but why. And Broken Boxes--the podcast, the exhibition, and the book--thrives on bringing artists together in dialogue with each other through the artist's own words. This book provides an opportunity to introduce the larger public to artists committed to creating, sustaining, and encouraging solidarity. By opening up the conversations across communities, groups, art practices, materials, and shared space, we hope to demonstrate how artists are forging new forms of action.

The life and work of a celebrated multimedia artist, cultural and feminist theorist, and community organizer

Amalia Mesa-Bains has garnered international recognition for multimedia installations that evoke the Chicana experience. This lively book recounts pivotal moments from her life, career, and collaborations, examining the intertwined worlds of Latinx culture, social movements, and contemporary art.

Esteemed cultural historian Tomás Ybarra-Frausto relates Mesa-Bains's life to contemporary events and her artistic and intellectual production to her concept of domesticana (a feminist interpretation of rasquachismo) and her mestiza identity. He demonstrates how the Chicano Movement attuned the artist to her Mexican heritage, sparking her interest in the traditional home altars that became the aesthetic and cultural inspiration for her installation art.

Employing detailed descriptions and analyses of key works, this book is an art historical biography-memoire, offering a uniquely personal understanding of Mesa-Bains's prolific artistic practice and situating her life and art in the cultural and political milieu of the United States since the 1960s.

Distributed for UCLA Chicano Studies Research Center Press.

Through his work across many media, Houston and Los Angeles-based artist Vincent Valdez bears witness to the world around him, chronicling an America at the margins. Vincent Valdez: Just a Dream... features work from over twenty years and writings addressing Valdez's work through the lens of politics, history and humanity. Valdez's approach to imaging his country, its people, politics, pride, and foibles includes boxing, lynchings of Mexican Americans, border walls, politics, greed, the Ku Klux Klan, and the failings and triumphs of American society. Vincent Valdez: Just a Dream... accompanies survey exhibitions of his work by the same name at the Contemporary Art Museum of Houston (CAMH) in 2024-5 and MASS MoCA in 2025-6. The bilingual (English/Spanish) publication features both full-color works and a gatefold for The Strangest Fruit as well as a sewn-in booklet of behind-the-scenes studio images. Texts include a reprint of Joyce Carol Oates' On Boxing, essays by exhibition co-curators Denise Markonish and Patricia Restrepo; and a text by Evan Garza on the artist's relationship to Texas.

As the lead singer of the Grammy Award-winning rock band Quetzal and a scholar of Chicana/o and Latina/o studies, Martha Gonzalez is uniquely positioned to articulate the ways in which creative expression can serve the dual roles of political commentary and community building. Drawing on postcolonial, Chicana, black feminist, and performance theories, Chican@ Artivistas explores the visual, musical, and performance art produced in East Los Angeles since the inception of NAFTA and the subsequent anti-immigration rhetoric of the 1990s.

Showcasing the social impact made by key artist-activists on their communities and on the mainstream art world and music industry, Gonzalez charts the evolution of a now-canonical body of work that took its inspiration from the Zapatista movement, particularly its masked indigenous participants, and that responded to efforts to impose systems of labor exploitation and social subjugation. Incorporating Gonzalez's memories of the Mexican nationalist music of her childhood and her band's journey to Chiapas, the book captures the mobilizing music, poetry, dance, and art that emerged in pre-gentrification corners of downtown Los Angeles and that went on to inspire flourishing networks of bold, innovative artivistas.

An oral history of the Latin American artists who moved to New York in the late 1960s and pioneered a new conceptualism informed by their migrant experiences

In the late 1960s and early 1970s, during a time of global cultural and social upheaval, a key group of Latin American artists migrated to New York. Part of the generational shift toward Happenings, Minimalism and Conceptualism, the group worked in conversation with experimental practices while exploring topics of migration, identity, politics, exile, and nostalgia. Drawing from both American culture and the cultures of their countries of origin, their works reflect the unique perspectives--both as insiders and outsiders--that these artists had as newcomers.
Conceived as a visual reader with newly sourced and existing testimonies, This Must Be the Place is the first book of its kind to highlight this generation of artists in interviews and primary source material. Organized by themes and illustrated with artworks, photographs and other archival material, the testimonies of these artists offer the reader a dynamic, candid and historically rich memoir of 1960s and 1970s New York.

The Artepaño: Chicano Prisoner Kerchief Art exhibition presents a thorough sampling of the distinctive styles found in paño art. The majority of works come from the private collection of Mr. Leplat-Torti, who has one of the largest collections of paño art in the world. Additionally works of art come from the collection of the National Hispanic Cultural Center in Albuquerque, New Mexico and the Nora Eccles Harrison Museum of Art, Utah State University.

The Artepaño: Chicano Prisoner Kerchief Art exhibition will be accompanied by a catalog with illustrations of every paño featured in the exhibition with annotations by curator Dr. Álvaro Ibarra. The publication will also feature an essay by renowned scholar Ben V. Olguin. Dr. Olguin's essay explores the complex social and economic factors surrounding the development of the artepaño tradition. Additionally, the catalog will include an interview with Mr. Leplat-Torti concerning his journey as a paño collector and as an advocate for prison rehabilitation programs and prisoner rights.

Joaquin Sorolla (born in Valencia 1863-died in Cercedilla 1923) is one of the most successful Spanish painters ever. He was a genius in capturing the essence of the scene he was painting. He lived while photography was being invented and popularized. Some of his breathtaking landscapes show how he was familiar with and employed similar techniques at the photograph. His landscapes are a great introduction to Spanish history.

In the course of preparing for his grand masterpiece The Vision of Spain, which hangs in the Hispanic Society of America, Sorolla visited many places of Spain. Here he painted types of people and local dress which made up his vision of Spain, diverse and colorful yet united.

Joaquin Sorolla also painted landscapes. Some of the landscapes are recordings like photographs. Others are exercises and development of his talent and technique. It is possible to follow his development as a master of impressionist painting by comparing landscapes by the year of completion. Sorolla only became better with age and maturity. We travel with Sorolla generally from North to South.

Enjoy this splendid tour of Spain!

With: Néstor David Pastor, Gabriel Magraner, and Nikki Myers

Contributors. Joseph Anthony Cáceres, Taína Caragol, Arnaldo M. Cruz-Malavé, Deborah Cullen-Morales, Arlene Dávila, Kerry Doran, Elizabeth Ferrer, Yomaira C. Figueroa-Vásquez, Al Hoyos-Twomey, Teréz Iacovino, Johnny Irizarry, Johana Londoño, Urayoán Noel, Néstor David Pastor, Yasmin Ramirez, Melissa M. Ramos Borges, Raquel Reichard, Rojo Robles, Abdiel D. Segarra Ríos, Wilson Valentín-Escobar

Xican-a.o.x Body centers on the political and creative resistance of Xicanx artists from 1968 to the present. Presenting new histories of Xicanx art, the book illustrates how some seventy artists have foregrounded the Brown body to explore, expand, and complicate the Mexican American, Latinx, and Xicanx experiences, emphasizing the term Xicanx for greater acknowledgment of indigenous roots and intersectional identities. Thematic essays by renowned scholars address how Xicanx art lies at the intersection of the politics of identity, race, and class, and interrogate questions of high and low culture. Taken together, the texts and images celebrate artistic communities who have pushed against the systemic racism of mainstream art institutions. The catalog appears in tandem with a touring exhibition's inaugural presentation at the Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum.

Los Angeles art of the past is a treasure trove, awaiting full excavation. Scratch the surface of LA art in the 1960s, and what you'll discover is much more than Ed Ruscha and Robert Irwin. A range of lesser-known artists reflected the social and cultural changes of that volatile decade. Hiding in plain sight have been offbeat and lyrical works by an ethnically diverse group of artists who exhibited with a 1960s gallery with an alternative take on the mainstream, the Ceeje Gallery. Ceeje opened as the dream project of a gay couple, Cecil Hedrick and Jerry Jerome, and focused on painters who shared an expressionist style of mythic figuration and oblique narrative. This book offers a celebration of the gallery's inclusiveness and unique aesthetic, which included artists from a variety of backgrounds and perspectives, all united in making challenging art oblivious of the commercial market.

Essays on Cuba and the Cuban diaspora, on racism and Big Data, Guantánamo and Reggaeton, soccer and baseball, Obama and the Rolling Stones, Europe and Donald Trump--de la Nuez approaches his criticism with singularity of purpose. In Cubanthropy he does not set out to explain Cuba to the world, but rather to put the world into a Cuban context.

Nothing explains our vexed world quite like Cuba and no one anywhere writes more brilliantly, more prophetically, more impossibly than Iván de la Nuez. As in all of his finest work, Cubanthropy delivers you beyond your old horizons into a realm of startling possibilities. Do not miss this extraordinary book or this extraordinary warlock of a writer. --Junot Díaz, author of This Is How You Lose Her

Cubanthropy may just be the smartest writing on Cuba--and beyond--I've read in ages. Insightful, unsparing, funny, and with an unerring eye for the paradoxical, Iván de la Nuez has written the definitive compilation on 21st-century Cuba. Essential reading for all who care about how the past, present, and future are disturbingly converging on the island, and off. --Cristina García, author of forthcoming Vanishing Maps

Evoking animal spirits such as Jaguar and Hummingbird, depicting Mexican Mayan ruins, capturing traditional sugar skulls, representing Catholic religious icons and celebrating lowrider culture, these adult coloring pages are designed to represent different times and places that contributed to the complex flavors of the Mexican-American people.

• Over 45 different images: animals, gods and goddesses, skulls and roses, pyramids and warriors, and lowriders and beautiful portraits
• Stress relieving
• A fun activity that celebrates Xicana roots and heritage

Enjoy, and color outside the lines!