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    Ofelia Esparza Los Angeles, California, 1932 – present *Cesar Vive* [*Cesar Lives*], 1993–94 Screenprint Gift of Gilberto Cárdenas, 2017 Stories of struggle and survival from earlier decades served as rich sources of historical material and political awareness for artists active at Self Help Graphics during the 1990s. They often refer in their work to the United Farm Workers union (UFW ), which during the 1960s protested to improve conditions for agricultural laborers across the country. In *Cesar Vive*, Ofelia Esparza features symbols and figures associated with the UFW, like César Chávez, to represent Chicanx pride.

    Yreina D. Cervántez Garden City, Kansas, 1952 – Los Angeles, California, present *El pueblo chicano con el pueblo centroamericano* [*The Chicano People with the Central American People*], 1986 Screenprint Gift of Gilberto Cárdenas, 2017 Many Chicanx artists draw from the rich visual reservoir of Mexico and Central American countries as a way of negotiating their lives and artistic practice in the United States and maintaining a link to their ancestral and communal heritage. Yreina Cervántez’s print features well-known figures and motifs: Augusto César Sandino, Che Guevara, Quetzalcoatl, the Virgin of Guadalupe, and Indigenous people. Cervántez transforms these visual icons, lending them new meanings in the context of the struggle for social justice that took place in Central America during the 1980s. What seems at first like a dense collage reveals a clever logic: the viewer is positioned as if inside a car, looking out at a series of Chicanx murals painted along the freeway in support of the Nicaraguan Sandinista rebels fighting Anastasio Somoza’s dictatorial regime.

    Delilah Montoya Fort Worth, Texas, 1955 – Houston, Texas, present *They Raised All of Us; City Terrace, L.A. CA, 1955* [*Nos criaron a todos, City Terrace, L.A. CA, 1955*], 1996 Screenprint Gift of Gilberto Cárdenas, 2017 In this print, Delilah Montoya sheds light on a key facet of Latinx culture, the often-unrecognized role of the family matriarch. She reproduces a photograph of a multigenerational group of women. Mothers with small children crowd around the corner of a room under a small altar bearing a crucifix. According to the title, the photograph was taken at City Terrace, a predominantly Mexican American neighborhood in East Los Angeles. Living and working in a region that once was part of Mexico, the artist has written about creating art as a “Chicana in occupied America” and wanting to articulate “the experience of a minority woman.”

    Eloy Torrez Albuquerque, New Mexico, 1954 – Los Angeles, California, present *The Pope of Broadway* [*El Papa de Broadway*], 1984 Screenprint Gift of Gilberto Cárdenas, 2017 *The Pope of Broadway* depicts Anthony Quinn, a Mexican- born actor who grew up in East L.A. and was one of the first Mexican American actors to achieve fame in Hollywood. Like Gómez Cruz, Eloy Torrez recycled this image from a mural he painted the same year off South Broadway in Downtown L.A. He portrays Quinn as larger than life and in his well-known pose as a dancing Zorba the Greek. Torrez’s monumental depiction gestures towards Quinn’s iconic status in the minds of East Angelenos and on the American screen.

    Manuel Gómez Cruz Active in Los Angeles, California, 1970s–1990s *Barrio Flag* [*La bandera del barrio*], 1996 Screenprint Gift of Gilberto Cárdenas, 2017 Artists frequently draw inspiration from cultural icons and everyday life in the United States. Manuel Gómez Cruz is considered by his peers to be the godfather of the Chicano Art Movement due to his involvement with community arts organizations from the 1970s, well into the 1990s, when he made prints at Self Help. His *Barrio Flag*, an image that he first featured as part of a large mural on East Cesar Chavez Avenue in 1994, includes an eagle—a simultaneous reference to the flags of the United States, Mexico, and the United Farm Workers labor union. A banner hangs beneath the bird’s talons with the phrase “Barrios United is Peace & Power,” suggesting the artist’s belief in the importance of the American "barrio" to the development of Latinx artists.

    Gilbert “Magu” Luján French Camp, California, 1940 – Los Angeles, California, 2011 *Cruising Turtle Island* [*Paseando por la Isla Tortuga*], 1986 Screenprint Gift of Gilberto Cárdenas, 2017 In *Cruising Turtle Island*, Gilbert Luján—a member of Los Four, a foundational art collective in Los Angeles—explores the concept of Aztlán, the ancestral home of the Aztecs and the spiritual home of the Chicanx community. Many Indigenous groups in North America believed the world was suspended on the back of a mythic turtle. Activists defending Indigenous rights began calling the Americas “TurtleIsland.” Luján imagines this place as an enclave with Mesoamerican- style temples in the shape of howling dogs and an ancient warrior driving a low-rider car crowned by Quetzalcoatl, the feathered serpent god.

    Tony Ortega Santa Fe, New Mexico, 1958 – Denver, Colorado, present *Los de abajo* [*The Underdogs*], 1993 Screenprint Gift of Gilberto Cárdenas, 2017 In *Los de abajo*, Tony Ortega depicts migrant workers and the integrity of their labor, affirming the important work they do for our society. The print is titled after a famous 1929 novel by Mexican writer Mariano Azuela about the experience of a group of peasants during the Mexican Revolution. In recent years, Atelier participants have continued to create prints that respond to displacement, harsh immigration policies, and endangered civil rights.

    John M. Valadez Los Angeles, California, 1951 – present *Untitled* [*Sin Título*], 1985 Screenprint Known for his painting and pastel work, John Valadez depicts the Chicanx experience through photorealist representations of people from East L.A. An unusual print for Valadez in its abstract style, this untitled work shows groups of individuals conversing, fighting, and running. The suited male figure printed in blue and yellow gestures to his empty pant pockets, turned inside-out, as though to demonstrate his lack of cash. This dynamic and colorful silkscreen print exemplifies the most typically used technique at Self Help Graphics. Silkscreen printing, also called serigraphy, involves transferring images to a mesh through a photo-emulsion process. The printer rolls the ink to fill the permeable areas produced by this method. Several screens are created for each color ink resulting in a multi-layered work like Valadez’s. Gift of Gilberto Cárdenas, 2017

    Contructing Identit... Photo 1229_gpr Photo 1217_gpr