The Ester M. Hernandez Collection Date: 1957-2001 Collection Number: M1301 Creator: Hernandez, Ester Collection Size: 53.5 Linear Ft
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FY 18-19 Annual Report
YERBA BUENA DISCOVER THE UNEXPECTED YBCBD ANNUAL REPORT 2018–2019 DISCOVER THE UNEXPECTED Dear Friends and Neighbors, ARTIST JR CREATES AN ORIGINAL MURAL IN YERBA BUENA It’s certain that residents, workers, and visitors to Yerba Buena will experience something new, exciting, and inspiring. The neighborhood’s tapestry is one of renown museums and galleries, landscaped gardens, and major convention facilities. There are unique places to dine, shop, and play. Amid all of this is an exhibition of public art, culinary and architectural excellence, and CITY AT NIGHT: YERBA BUENA UNDER A FULL MOON entertainment offerings unique to the city. To sustain and improve Yerba Buena’s unique characteristics, the YBCBD provides services to help make the neighborhood cleaner, safer, and even more inviting. Thank you to all who help us make Yerba Buena an exceptional place for people of all ages and backgrounds. It’s been an exciting and productive year. We’re thrilled that public art and artistry in the neighborhood grew to new heights — adding to unexpected moments of inspiration and wonder. As part of the Moscone Center expansion, there are now several new works of public art in and around the Moscone Center and Yerba Buena Gardens. The new collection augments major works that the YBCBD helped bring to the neighborhood. Yerba Buena’s ingenuity also extends to its renowned restaurants, architecture, and landscaped spaces. It is reflected in the hundreds of different performances each year of the Yerba Buena Gardens Festival, at the YBCBD’s annual Yerba Buena Night of music, dance and performance, and at our monthly theatrical neighborhood walks. -
Hispanic Archival Collections Houston Metropolitan Research Cent
Hispanic Archival Collections People Please note that not all of our Finding Aids are available online. If you would like to know about an inventory for a specific collection please call or visit the Texas Room of the Julia Ideson Building. In addition, many of our collections have a related oral history from the donor or subject of the collection. Many of these are available online via our Houston Area Digital Archive website. MSS 009 Hector Garcia Collection Hector Garcia was executive director of the Catholic Council on Community Relations, Diocese of Galveston-Houston, and an officer of Harris County PASO. The Harris County chapter of the Political Association of Spanish-Speaking Organizations (PASO) was formed in October 1961. Its purpose was to advocate on behalf of Mexican Americans. Its political activities included letter-writing campaigns, poll tax drives, bumper sticker brigades, telephone banks, and community get-out-the- vote rallies. PASO endorsed candidates supportive of Mexican American concerns. It took up issues of concern to Mexican Americans. It also advocated on behalf of Mexican Americans seeking jobs, and for Mexican American owned businesses. PASO produced such Mexican American political leaders as Leonel Castillo and Ben. T. Reyes. Hector Garcia was a member of PASO and its executive secretary of the Office of Community Relations. In the late 1970's, he was Executive Director of the Catholic Council on Community Relations for the Diocese of Galveston-Houston. The collection contains some materials related to some of his other interests outside of PASO including reports, correspondence, clippings about discrimination and the advancement of Mexican American; correspondence and notices of meetings and activities of PASO (Political Association of Spanish-Speaking Organizations of Harris County. -
Siete Lenguas: the Rhetorical History of Dolores Huerta and the Rise of Chicana Rhetoric Christine Beagle
University of New Mexico UNM Digital Repository English Language and Literature ETDs Electronic Theses and Dissertations 2-1-2016 Siete Lenguas: The Rhetorical History of Dolores Huerta and the Rise of Chicana Rhetoric Christine Beagle Follow this and additional works at: https://digitalrepository.unm.edu/engl_etds Recommended Citation Beagle, Christine. "Siete Lenguas: The Rhetorical History of Dolores Huerta and the Rise of Chicana Rhetoric." (2016). https://digitalrepository.unm.edu/engl_etds/34 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in English Language and Literature ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Garcia i Christine Beagle Candidate English, Rhetoric and Writing Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Michelle Hall Kells, Chairperson Irene Vasquez Natasha Jones Melina Vizcaino-Aleman Garcia ii SIETE LENGUAS: THE RHETORICAL HISTORY OF DOLORES HUERTA AND THE RISE OF CHICANA RHETORIC by CHRISTINE BEAGLE B.A., English Language and Literature, Angelo State University, 2005 M.A., English Language and Literature, Angelo State University, 2008 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY ENGLISH The University of New Mexico Albuquerque, New Mexico November 10, 2015 Garcia iii DEDICATION To my children Brandon, Aliyah, and Eric. Your brave and resilient love is my savior. I love you all. Garcia iv ACKNOWLEDGMENTS First, to my dissertation committee Michelle Hall Kells, Irene Vasquez, Natasha Jones, and Melina Vizcaino-Aleman for the inspiration and guidance in helping this dissertation project come to fruition. -
H. Parks, Recreation and Open Space
IV. Environmental Setting and Impacts H. Parks, Recreation and Open Space Environmental Setting The San Francisco Recreation and Park Department maintains more than 200 parks, playgrounds, and open spaces throughout the City. The City’s park system also includes 15 recreation centers, nine swimming pools, five golf courses as well as tennis courts, ball diamonds, athletic fields and basketball courts. The Recreation and Park Department manages the Marina Yacht Harbor, Candlestick (Monster) Park, the San Francisco Zoo, and the Lake Merced Complex. In total, the Department currently owns and manages roughly 3,380 acres of parkland and open space. Together with other city agencies and state and federal open space properties within the city, about 6,360 acres of recreational resources (a variety of parks, walkways, landscaped areas, recreational facilities, playing fields and unmaintained open areas) serve San Francisco.172 San Franciscans also benefit from the Bay Area regional open spaces system. Regional resources include public open spaces managed by the East Bay Regional Park District in Alameda and Contra Costa counties; the National Park Service in Marin, San Francisco and San Mateo counties as well as state park and recreation areas throughout. In addition, thousands of acres of watershed and agricultural lands are preserved as open spaces by water and utility districts or in private ownership. The Bay Trail is a planned recreational corridor that, when complete, will encircle San Francisco and San Pablo Bays with a continuous 400-mile network of bicycling and hiking trails. It will connect the shoreline of all nine Bay Area counties, link 47 cities, and cross the major toll bridges in the region. -
The Keystone
THE KEYSTONE SOUTHWESTERN WRITERS COLLECTION | WITTLIFF GALLERY OF SOUTHWESTERN & MEXICAN PHOTOGRAPHY FALL 2006 | SPECIAL COLLECTIONS AT THE ALKEK LIBRARY | WWW. LIBRARY. TXSTATE. EDU/ SPEC- COLL UNIVERSITY SAN MARCOS A member of the Texas State University System from the CURATOR (right) Raymond, ¡Saludos! are extensively represented in the Wittliff Gallery, tells the (left) Sally Wittliff, 1991, Keith Carter The power of art in life is a story of a cleaning woman who said to him that in the the Bill Wittliff, Dawn Jones, Tommy Lee recurring motif here at the building where she worked there was one of his pictures— Jones, Sam Shepard, THANK YOU Collections, vividly set an old blind man petting a bunch of tiny kittens that were in & John Graves to all contributors forth once again by Graci- his lap and crawling over his shirt—eyes not open yet, blind of (seated)* who made gifts ela Iturbide in her book, like him. An edgy, unsentimental portrait that nevertheless Spirit (center) Emcee this fiscal year for Evan Smith, editor- Eyes to Fly With, upcoming reaches into every single chamber of your heart. She told general support or in-chief of TEXAS in the Wittliff Gallery Keith that she looked at it each day before she started work MONTHLY** to sponsor specific Series (p. 12). In the rare because it made her feel so good. anniversary gala projects: Place (below) revelatory text she ex- The life-changing power of art is not for the practition- Debbie & Jim # Azadoutioun Epperson, president plains how, after the death ers of art alone—it’s for all of us. -
Mexican American History Resources at the Briscoe Center for American History: a Bibliography
Mexican American History Resources at the Briscoe Center for American History: A Bibliography The Briscoe Center for American History at the University of Texas at Austin offers a wide variety of material for the study of Mexican American life, history, and culture in Texas. As with all ethnic groups, the study of Mexican Americans in Texas can be approached from many perspectives through the use of books, photographs, music, dissertations and theses, newspapers, the personal papers of individuals, and business and governmental records. This bibliography will familiarize researchers with many of the resources relating to Mexican Americans in Texas available at the Center for American History. For complete coverage in this area, the researcher should also consult the holdings of the Benson Latin American Collection, adjacent to the Center for American History. Compiled by John Wheat, 2001 Updated: 2010 2 Contents: General Works: p. 3 Spanish and Mexican Eras: p. 11 Republic and State of Texas (19th century): p. 32 Texas since 1900: p. 38 Biography / Autobiography: p. 47 Community and Regional History: p. 56 The Border: p. 71 Education: p. 83 Business, Professions, and Labor: p. 91 Politics, Suffrage, and Civil Rights: p. 112 Race Relations and Cultural Identity: p. 124 Immigration and Illegal Aliens: p. 133 Women’s History: p. 138 Folklore and Religion: p. 148 Juvenile Literature: p. 160 Music, Art, and Literature: p. 162 Language: p. 176 Spanish-language Newspapers: p. 180 Archives and Manuscripts: p. 182 Music and Sound Archives: p. 188 Photographic Archives: p. 190 Prints and Photographs Collection (PPC): p. 190 Indexes: p. -
Changemakers: Biographies of African Americans in San Francisco Who Made a Difference
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Leo T. McCarthy Center for Public Service and McCarthy Center Student Scholarship the Common Good 2020 Changemakers: Biographies of African Americans in San Francisco Who Made a Difference David Donahue Follow this and additional works at: https://repository.usfca.edu/mccarthy_stu Part of the History Commons CHANGEMAKERS AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE Biographies inspired by San Francisco’s Ella Hill Hutch Community Center murals researched, written, and edited by the University of San Francisco’s Martín-Baró Scholars and Esther Madríz Diversity Scholars CHANGEMAKERS: AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE © 2020 First edition, second printing University of San Francisco 2130 Fulton Street San Francisco, CA 94117 Published with the generous support of the Walter and Elise Haas Fund, Engage San Francisco, The Leo T. McCarthy Center for Public Service and the Common Good, The University of San Francisco College of Arts and Sciences, University of San Francisco Student Housing and Residential Education The front cover features a 1992 portrait of Ella Hill Hutch, painted by Eugene E. White The Inspiration Murals were painted in 1999 by Josef Norris, curated by Leonard ‘Lefty’ Gordon and Wendy Nelder, and supported by the San Francisco Arts Commission and the Mayor’s Offi ce Neighborhood Beautifi cation Project Grateful acknowledgment is made to the many contributors who made this book possible. Please see the back pages for more acknowledgments. The opinions expressed herein represent the voices of students at the University of San Francisco and do not necessarily refl ect the opinions of the University or our sponsors. -
THE VISUAL ARTS of LINDA VALLEJO: Indigenous Spirituality, Indigenist Sensibility, and Emplacement
THE VISUAL ARTS OF LINDA VALLEJO: Indigenous Spirituality, Indigenist Sensibility, and Emplacement Karen Mary Davalos Analyzing nearly forty years of art by Linda Vallejo, this article argues that her indigenist sensibility and indigenous spirituality create the aesthetics of disruption and continuity. In turn this entwined aesthetics generates emplacement, a praxis that resists or remedies the injuries of colonialism, patriarchy, and other systems of oppression that displace and disavow indigenous, Mexican, and Chicana/o populations in the Americas. Her visual art fits squarely within the trajectory of Chicana feminist decolonial practice, particularly in its empowerment of indigenous communities, Mexicans, and Chicana/os in the hemisphere. Key Words: Emplacement, hemispheric studies, aesthetic practice, spiritual mestizaje, decolonial imaginary, indigenous epistemology. Born in Los Angeles and raised by three generations of Mexican- heritage women, Linda Vallejo creates an oeuvre that is easy to understand as feminist and indigenist. Ancestral women, including three great-grandmothers, grandmothers, her mother, and several great aunts, were the artist’s first sources of feminist and indigenous knowledge. Vallejo describes one great- grandmother as “una indígena” because she was short, had dark skin, and wore trenzas and huaraches; she was also very strong, even fierce, having worked in the fields as she migrated north (Vallejo 2013).1 The appellation indicates the way in which Vallejo understands knowledge and subjectivity as emerging from material conditions, social forces, and affect, rather than biology. Vallejo is also a world traveler. Because of her father’s military service, she visited “all the major museums of Europe, many of them as a very young girl” (Vallejo 2013). -
The LA Art Scene in the Political 1970S
American Studies in Scandinavia, 48:1 (2016), pp. 61-83. Published by the Nordic Association for American Studies (NAAS). Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s Eva Zetterman University of Gothenburg Abstract: Originating in the context of the Civil Rights Movements and political ac- tivities addressing issues of race, gender and sexuality, the Women’s Liberation move- ment and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separa- tion, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by Chicana/o artists in Los Angeles. In so doing, the art activism by Anglo American feminists and Chicanas/os is comparatively investigated with Los Angeles as the spatial framework and the 1970s as the time frame. Four main com- ponents are discussed: their respective political aims, alternative art spaces, peda- gogical frameworks and aesthetic strategies. The study found that the art activisms by Anglo American feminists and Chicanas/os differed. These findings suggest that a task ahead is to open up a dialogue with Chicana/o activist art, making space for more diverse representations of activities and political issues, both on the mainstream art scene and in the history of art. Keywords: the Los Angeles art scene – art activism – alternative art spaces – Chica- nas/os – feminism In the historiography of fine art, the 1970s is recognized as the decade when feminism entered the scene. -
Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’S Codex Delilah
San Jose State University SJSU ScholarWorks 2002-2004: 29th, 30th, & 31st Annual NACCS Annual Conference Proceedings Conferences Proceedings Apr 1st, 12:00 AM Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’s Codex Delilah Ann Marie Leimer University of Redlands Follow this and additional works at: https://scholarworks.sjsu.edu/naccs Leimer, Ann Marie, "Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’s Codex Delilah" (2004). NACCS Annual Conference Proceedings. 3. https://scholarworks.sjsu.edu/naccs/2002-2004/Proceedings/3 This Conference Proceeding is brought to you for free and open access by the National Association for Chicana and Chicano Studies Archive at SJSU ScholarWorks. It has been accepted for inclusion in NACCS Annual Conference Proceedings by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. NACCS_FINAL:NACCS proceedings 3/18/09 4:10 PM Page 10 CHAPTER 1 Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’s Codex Delilah Ann Marie Leimer, University of Redlands INTRODUCTION In 1992, the United States conducted a nationwide commemoration of the Quincentenary, the five-hundredth anniversary of the arrival of Christopher Columbus on the shores of the Americas. While the overall tenor of the observance remained laudatory regarding Columbus, his achievement, and the subsequent “settlement” 1 of the New World by Europeans, some Americans insisted that media and other popular representations of the offi - cial recognition elided important aspects of this historical moment and its aftermath. Protests and counterdemonstrations ranged from mild to mili - tant with churches, schools, and indigenous and other activist groups cri - tiquing the limited portrayal of the yearlong commemoration. -
806/317-0676 E-Mail: [email protected]
DR. CONSTANCE CORTEZ School of Art, Texas Tech University, Lubbock, Texas 79409 (cell) 806/317-0676 e-mail: [email protected] EDUCATION: 1995 Doctor of Philosophy (Art History), University of California, Los Angeles Dissertation: "Gaspar Antonio Chi and the Xiu Family Tree" •Major: Contact Period and Colonial Art of México •Minors: Chicano/a Art, Pre-Columbian Art of México, Classical Art •Areas of Specialization: Conquest Period cultures of the Americas & colonial and postcolonial discourse 1986 Master of Arts (Art History), The University of Texas at Austin Masters Thesis: "The Principal Bird Deity in Late Preclassic & Early Classic Maya Art" •Major: Pre-Columbian Art •Minor: Latin American Studies •Area of Specialization: Classic Maya Iconography and Epigraphy 1981 Bachelor of Arts (Art History), The University of Texas at Austin TEACHING EXPERIENCE: Sept.2003- Associate Professor, Texas Tech University (Tenure/Promotion to Associate, March 6, 2009) present Graduate courses: Themes of Contemporary Art [1985-2013]; Contemporary Theory; Methodology; Memory & Art; The Body in Contemporary Art. Undergraduate courses: Themes of Contemporary Art; Contemporary Chicana/o Art; 19th-20th century Mexican Art; Colonial Art of México; Survey II [Renaissance -Impression.]; Survey III [Post Impressionism - Contemporary]. Sept.1997- Assistant Professor, Santa Clara University May 2003 Tenure-track appointment. Undergraduate: Chicana/o Art; Modern Latin American Art; Colonial Art of Mexico & Perú; Pre-Columbian Art, Native North American Art; Survey of the Arts of Oceania, Africa, & the Americas. Sept.1996- Visiting Lecturer, University of California at Santa Cruz June 1997 Nine-month appointment. Undergraduate: Chicana/o Art; Colonial Art of México; Pre-Columbian Art, Native North American Art; Survey of the Arts of Oceania, Africa, & the Americas. -
Hispanic Art in Texas Teacher Resource 2
ART, IDENTITY, CULTURE TEJANO CULTURE IN EARLY TEXAS AND CONTEMPORARY ART LESSON ONE ART AND REPRESENTATION BEFORE THE LESSON It is important for students to be able to critically evaluate what they see, particularly as this relates to the representation of culture. Without a critical eye, students may accept stereotypical interpretations and not strive for accurate representations of peoples and cultures. OVERVIEW In this lesson, students identify and discuss how examples of Early Texas Art represent Tejano culture, comparing works for the ways that they construct their subjects. They will consider the social and historical conditions under which the images were made and offer plausible explanations for the paintings' meanings. Finally, they will evaluate what primary sources are necessary to investigate culture appropriately. In doing so, the students identify the tools that they will use in the remaining lessons. OBJECTIVES STUDENTS WILL: Interpret images for their meaning Compare different images for their meanings Employ terms introduced in the unit (Tejano, Anglo, culture, identity, representation, stereotype) Compose a plausible extension for each image Evaluate resources needed for more complete interpretations of the images HISTORICAL INFORMATION These three paintings represent different periods of Texas history. Theodore Gentilz's painting was created in the Republic of Texas (1836-1845). Gentilz was a Frenchman who moved to San Antonio in 1843 and painted the city's diverse cultures as he saw them. The image seen here represents a fandango dance. José Arpa made his image in 1929, just before the Dust Bowl and the Great Depression. Tejanos at this time experienced discrimination and schools were segregated.