writes books and eats food
eats food, then writes books
1. The conscious use of the imagination.
2. The way of grasping the human world.
3. Where we make meaning beyond language.
4. A revolt. A protest against extinction.
Or maybe it's none of that.
LA LOTERÍA ART
(Click card for more information)
"Lotería is a game of chance where players mark pictures on a game board as a cantor (singer/caller) draws symbols from a deck of cards. Traveling from Italy through France and Spain Lotería reached Latin America in the mid-18th century and became firmly entrenched in Latin America within 100 years. Different regions developed a unique assortment of culturally significant symbols and figures for the cards, including human characters, plants, animals and everyday objects. The most recognizable Lotería set was produced by Don Clemente based in Querétaro, Mexico and featured simple drawings on a sky blue background. Its iconic visual vocabulary includes El Corazón (the heart) and La Sirena (the mermaid).”
THE MUSEUM OF LATIN AMERICAN ART
Recently, artists have created their own interpretation of the century-old Lotería designs by Don Clemente. Included here are the traditional "Bingo" cards followed by recent versions in various mediums by artists.
Mexican Pulp Artists:
The Illustrious Unknown
These artists produced work for Mexican comic books and pulp magazines during the fifties, sixties, and seventies. Most were treated like casual laborers hired to churn out work on a daily basis to meet the massive demand for comic books.
Unlike US comics which were by then bound by a comic’s code, Mexican comic books and pulp magazines were able to publish work uncensored. This led to the rise of more salacious, brutal, and extreme storylines and artwork.
In 2007, Feral House issued a book celebrating the best of these pulp and comic book paintings called Mexican Pulp Art, with an introduction by Minneapolis-based artist, curator, author, and cultural organizer, Maria Cristina Tavera.
The Writing's on the Wall
In the early 1970s, with the backdrop of the Chicano civil rights movement, a new generation of Mission District muralists rediscovered the works of the grand Mexican Muralists, and began to revive and bring new meaning to the tradition of large-scale public art with painted murals that addressed community, social and political issues with images that affirmed the cultural heritage of the Chicano/Latino community. Mission muralists engaged in collaborative group mural projects such as the women's collectives, such as Mujeres Muralistas founded by Patricia Rodriguez. These collaborations were the origin of the community mural movement, which, throughout the years, has created a unique artistic environment in the Mission District.
GALARIA DE LA RAZA