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Julieta’s voice first made it into my ears when she was a vocalist for Tijuana No!, a Mexican political punk-ska-rock band. Later, in 1998, my sister enlisted the help of relatives in Mexico to get a copy of her first CD Aqui which hadn't yet been distributed in the U.S. I loved her rock sound and would steal away with the CD, listening to her songs on repeat during my four mile walks to and from community college. There are less known jems like the song Sabiendose (which in 2009 was re-recoded as a duet with Mercedes Sosa):
Soy de los descalzos y estoy cansado de este
color que pesa más que yo, mi corazón desprendido
de mi cuerpo ya sigue latiendo igual.
Soy de los descalzos, no tengo perdón por
haber encontrado a cara pálida, mis brazos
cortados por la misma mano se abrazan hoy
I continued to love her sound as it transformed from rock to pop because I could always listen to her previous albums and still enjoy the new music. The best memory I have of seeing Julieta play live was, in 2002, at an opening of the exhibit Lines of Sight: Views of the U.S./ Mexican Border at UC Riverside. Her twin sister Yvonne, who is a photographer, had work in the exhibit along with other phenomenal artists like Ricardo Duffy and Ruben Ortiz Torres.The event combined two loves of my life: art and music. On a couple of songs her cousin played flute while she changed between acoustic guitar and accordion while her sister and mother sang along softly with her songs. It was fantastic.
The first time I saw Julieta play the accordion I was electrified. I had seen norteño-bands like Los Tigres Del Norte play before but this was the first time I witnessed a woman master the squeezebox and make it look like the coolest instrument in the world.
This piece joins the series of portraits of women musicians whose music moves me. The other prints feature Martha Gonzalez of Quetzal and Lila Downs.
You can order this print by clicking here
May 14 - June 8, 2011
EN PAPEL showcases the breadth and scope of recently-produced imagery emerging from Latino printmaking studios throughout the US. The exhibit traces provocative delineations of the Latino body politic as expressed through the artists' reflections of the world(s) they inhabit.
Consejo Grafico is an independent network of print studios that was formed to advance the legacy and viability of printmaking in the United States. The Consejo promotes collaboration as a condition to further the preservation and continuity of the critical/activist orientation that spearheaded Latino printmaking. This network spans the nation and includes works from Texas, New York, Los Angeles, Chicago and more.
Co-Curated by Juan Fuentes · Maurizzio Hector PinedaCONSEJO GRAFICO ARTISTS/STUDIOS:
This is a video which shows youth talking about their experiences in the schools at the turn of the century...this moment in history taught us so much. For Favianna Rodriguez, Jose Lopez, Marco Palma and myself, as the group "ten12", it was a period where we brought art and technology together. In the video I see the posters I designed for the "Week of Rage" (a culmination of actions across the state), as well as Favianna Rodriguez' images on banners.
There were so many artists making posters for this movement it was really incredible. At the time Jose Lopez and Marco Palma were working on the SchoolsNotJails.com website along with Favianna who created the design for it. This website was always in development, new content was added all the time like videos such as the one above from Joe Feria Galicia. This was way back when people were still using 56k modems connected to their phones, it was very new stuff.
I know as developing visual artists, it was in these times that we learned how important it was for art to be connected to social movements. How we could use the web to put our message into the world and document the work that we were doing. As sad as it was to see this state pass Prop.21/22, the organizing work continued happening. Today we see all the result of people who came up through that generation and taught each other so much.
Above image: Juan Fuentes, Sueño de la Sirena, Linocut/serigraph, 28x24, 2010
This Saturday! Join us for the reception at a group exhibit we are part of in Richmond! Free!
Labor+a(r)t+orio Artists' Reception
Reception: April 23, 2-5pm
Richmond Art Center
2540 Barrett Avenue
Richmond, CA 94804
Labor + a(r)t + orio: Latin@ Arts in the Bay Area Now
Curated by Laura E. Pérez
The Bay Area has long been, and continues to be a laboratorio/laboratory for Latina/o artists from many communities, alongside the historic Chicana/o or Mexican American, to share and transform ideas from each other and from the myriad cultures of the area. This exhibition brings together artists from the late fifties through the present to engage notions of labor, art, and possibilities of speech/song (oratorio/oratory).
"Labor + a(r)t + orio: Bay Area Latin@ Arts Now" brings together artists from across generations and media to engage the present of labor, art, and the possibilities and speech/composition (oratory/oratorio) in this place (oratory) and time.
The featured artists are:Juana Alicia, Amalia Mesa-Bains, Jesus Barraza-Melanie Cervantes=Dignidad Rebelde, Juan Fuentes, Maya Gonzalez, Jean Pierre Larochette, John Jota Leanos, Yael Lurie, Celia Herrera Rodriguez, Eugene Rodriguez, Favianna Rodriguez, Sandra Ortiz Taylor and Consuelo Jimenez Underwood.
Water is life, defend your life. It is so simple, we are connected to the land we live on, if the land gets sick so will we. Water is one of the primary things need for life to exist, if we poison the water or we experience drought cause by climate change we will cease to exist. I ran across an article about hydrofracking, where a person talks about the earth being poisoned for thousands of years because of these types of process. It is sad to see how those in charge and the corporations that influence those people are stubborn to change the way energy is harnessed form the earth. The free market is suppose to regulate itself, but that never works, the free market wants to maximize profits, lower costs, in the end what's better for the bottom line is never good for the earth or for humanity.
There needs to be a serious change in the way decisions are made that will take into consideration the future of mother earth and of humanity. Where the financial bottom line is not the deciding factor, but how will an action we take today effect our world 25 or 100 years from now. I wonder how long it will be before the U.S. will stop being so arrogant and accept that the actions of those in power have made have thrown the environment off in such a way that the earth will not be healed for thousands of years and that we are at a crisis point where changes are needed right away.
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