Barbara Carrasco El Paso, Texas, 1955 – Los Angeles, California, present * Roberto “Tito” Delgado Los Angeles, California, 1944 – present * Richard Duardo Los Angeles, California, 1952–2014 * Diane Gamboa Los Angeles, California, 1957 – present * Eduardo Oropeza Silicon Valley, California, 1947 – Los Angeles, California, present * *Experimental Screenprint Atelier III* [*Taller de Serigrafía Experimental III*], 1984 Screenprint Gift of Gilberto Cárdenas, 2017
Lorraine Garcia Nakata Yuba City, California, 1950 – San Francisco, California, present * William F. Herrón III Los Angeles, California, 1951 – present * Ralph Maradiaga San Francisco, California, 1932–1985 * Eloy Torrez Albuquerque, New Mexico, 1954 – Los Angeles, California, present * Linda Vallejo Los Angeles, California, 1951 – present * *Experimental Screenprint Atelier IV* [*Taller de Serigrafía Experimental IV*], 1984 Screenprint Gift of Gilberto Cárdenas, 2017
Yreina D. Cervántez Garden City, Kansas, 1952 – Los Angeles, California, present * Alonzo Davis Tuskegee, Alabama, 1942 – Los Angeles, California, present * Richard Duardo Los Angeles, California, 1952–2014 * Dolores Guerrero-Cruz Rocky Ford, Colorado, 1948 – Los Angeles, California, present * Peter Sparrow Irvine, California, 1958 – New York City, present * John M. Valadez Los Angeles, California, 1951 – present *Experimental Screenprint Atelier V* [*Taller de Serigrafía Experimental V*], 1984 Screenprint collage on screenprint Gift of Gilberto Cárdenas, 2017
**The Experimental Atelier Program** In 1982, Self Help Graphics & Art established a screenprint Atelier program to support Latinx artistic production. The project included group discussions between the invited artists and the master printer to explore themes in their individual prints, followed by an exhibition of the group’s work in the studio’s Galería Otra Vez. The program maintained a democratic approach to art production and sales—each print was priced equally regardless of the visual content or the individual artist’s celebrity, further generating a sense of community. The Atelier continues to this day, now with occasional themed exhibitions that highlight the experimental and diverse vision of new generations of artists. During the 1980s, Ateliers produced an exhibition announcement poster compiled with elements of individual prints, some of which are on view in these galleries.
Roberto Gutiérrez Los Angeles, California, 1943 – present *Cesar E. Chavez Avenida* [*Cesar E. Chavez Avenue*], 1994 Screenprint Gift of Gilberto Cárdenas, 2017 *Cesar E. Chavez Avenida* records the neighborhood’s history, as it commemorates the name change of the area’s main avenue from “Brooklyn” to “Cesar E. Chavez” in 1994. During the 1960s, this part of the city transformed from a predominantly Jewish to a Mexican American community. Today East Los is undergoing another change in demographics as a targeted site of gentrification. Through the arrival of new communities, Self Help remains a symbol of the Latinx history in the area.
José Francisco Treviño Austin, Texas, 1941 – present *Untitled* [*Sin Título*], circa 1986 Screenprint Gift of Gilberto Cárdenas, 2017 Dr. Gilberto Cárdenas founded the Galería Sin Fronteras in East Austin—then a predominantly Mexican American neighborhood—to promote emerging Latinx artists and sell prints from Self Help Graphics. Austin artist José Treviño designed this poster for the gallery’s inaugural exhibition in 1986. It features a complex figure that is simultaneously an Aztec warrior, contemporary artist, and civil rights activist. The figure’s eagle pendant shows his allegiance to the United Farm Workers labor union, while he holds the tools of his trade. Below him, a partial globe of the Earth rests at the center of converging rows of footsteps, a type of pictographic writing the Aztec used to signify travel and direction. Here, all roads seem to lead to *ollin*, an Aztec sign associated with the energy involved in the creation of the universe.
Roberto Gutiérrez Los Angeles, California, 1943 – present *Self-Help Graphics in East Los*, 1992 Screenprint Gift of Gilberto Cárdenas, 2017 For artists like Roberto Gutiérrez, who grew up in East Los Angeles, Self Help felt like a second home that was always welcoming. He titled this fond depiction of the workshop with the term locals used for the *barrio*: “East Los.”
**History of Self Help Graphics & Art in Los Angeles** Established in 1972, Self Help Graphics & Art emerged as a response to the lack of resources to teach art to children and support emerging Latinx artists on the east side of Los Angeles. Sister Karen Boccalero, an artist and Franciscan nun, along with two Mexican-born artists, Carlos Bueno and Antonio Ibañez, founded Self Help and employed several local artists in an effort to establish a connection with the city’s Mexican American and Latinx communities through outreach programs. One of their first initiatives was the Barrio Mobile Art Studio. Artists drove the supply-filled van to elementary schools, senior centers, libraries, parks, and recreation centers in the surrounding neighborhoods to teach screenprinting, photography, batik, sculpture, and other media. In 1980, the organization even hosted a punk club, the Vex, that became a catalyst for the East L.A. *punkero* music scene. In 1982, Self Help began inviting artists to participate in its Experimental Atelier Program, a version of which remains to this day. Self Help continues to be an active arts center, supporting Latinx artists and the greater Los Angeles community.
**La historia de Self Help Graphics & Art** Fundado en 1972, Self Help Graphics & Art surgió como respuesta a la falta de recursos para enseñar arte a los niños y dar apoyo a artistas latinx emergentes que residían en la zona este de Los Ángeles. Sor Karen Boccalero, artista y monja franciscana, junto con los artistas de origen mexicano Carlos Bueno y Antonio Ibáñez, fundó Self Help y empleó a varios artistas locales en un esfuerzo por establecer una conexión con la comunidad mexicano-estadounidense de la ciudad por medio de programas de participación comunitaria. Una de las primeras iniciativas auspiciadas por el estudio fue el Taller de Arte Móvil del Barrio. Los artistas llevaban una camioneta llena de materiales de arte a escuelas primarias, asociaciones para adultos mayores, bibliotecas, parques y centros de recreación en las vecindades aledañas para enseñar serigrafía, fotografía, batik, escultura y otras técnicas. En 1980, la organización también presentó un club de música punk, el Vex, que se convirtió en un catalizador para la escena *punkera* de East L.A. En 1982, Self Help comenzó a invitar a artistas a participar en su Programa de Taller Experimental, una versión del cual todavía continúa. Self Help sigue siendo un centro artístico activo que apoya a artistas latinx y a la comunidad del área metropolitana de Los Ángeles.
(Left image) Yreina D. Cervántez Garden City, Kansas, 1952 – Los Angeles, California, present *Estudio para Danza Ocelotl* [*Study for Jaguar Dance*], 1983 Graphite and ink on paper Gift of Gilberto Cárdenas, 2019 * (Center image) Yreina D. Cervántez Garden City, Kansas, 1952 – Los Angeles, California, present *Danza Ocelotl* [*Jaguar Dance*], 1983 Screenprint with glitter Gift of Gilberto Cárdenas, 2017 * (Left image) Yreina Cervántez with master printer Stephen Grace, Experimental Atelier I, 1983. Photo Karen Boccalero. Courtesy of UC Santa Barbara, Special Collections. Yreina Cervántez’s *Danza Ocelotl* and its study reveal the production process from the artist’s vision to the printed image, facilitated by master printer Stephen Grace. Cervántez’s drawing includes several *ocelotl*—jaguar, in the Nahuatl language—that in Mesoamerican culture was seen as a symbol of power. The jaguars surround a self-portrait of Cervántez holding a circular mask in front of her face. Within the disc, an orange feline creates the shape of a nose beneath a third-eye. This combination of symbols, vibrant color, and glitter together express Chicana pride and power.