This exhibit, Artists Respond and Resist Together, was synchronistic in its evolution. Before there was an election in 2016 there was the Resource Center for Nonviolence in Santa Cruz, which had been serving the community for 40 years and there were a myriad of local artists, whose work focussed on the political landscape and if not specifically, who wanted to support that kind of work, because they believe in art as a social agent for change.
When the election results were confirmed, these 80 artists were in search of each other and formed a group called ARRT and at that same time RCNV was, as always, responding to the issues of the times and was right in the middle of remodeling their building to include an extensive art exhibition space. So, an inaugural ARRT exhibition was proposed, to bring these two forces together.
The Resource Center for Nonviolence, founded in 1976, is a peace and justice organization promoting the practice of nonviolent social change. Their primary mission is to support the growth of nonviolent activists.
The mission of ARRT states, “We are an affiliation of artists joined together by our shared belief in the power of art to effect social change and protect democratic values. Our creative skills support progressive social actions in our local community and beyond.”
For this juried show the theme was: Dynamic artistic responses to the current political climate. Submissions could address resistance, immigration, civil rights, climate change, injustice, etc. and the artists were encouraged to submit work that was in the spirit of both organizations.
Curators: Sara Friedlander Anita Heckman Dee Hooker
To contact artists please see information with each image
The message I see in this painting is that we are all the same, no matter how or what you believe. Everyone in the world has something in common; it is that we are all human beings and that we should treat and respect each other equally.
Unfortunately, people have fights mostly because of what they believe or what they are. Back in the third grade, kids would say horrible things about my family and about where we came from. I was a little kid and didn’t know how to react to the awful things being said about the language we spoke. So I sat there and took it all in. I had to endure all these hurtful statements until I found a friend whose family also came from the same state in Mexico, Oaxaca.
I never told my family about these insults because I was afraid of how they would react, that they might tell the parents of the mean kids to stay away from me, and that it might cause trouble between all the parents. My parents weren’t that worried about me because they were working so much; I didn’t want to worry them.
People fight over the racism in this country, and I just hope one day everybody will see each other like brothers and sisters. We should all be free to be who we want to be and not be made fun of simply because we are different or come from a different place.
—J.L. , age 13, Watsonville California.
Excerpt from the forthcoming book, La Historia en el arte: The Story in the Art.
Students were given the chance to look slowly at Latinx Art curated by Museo Eduardo Carrillo. They then used that artwork as the inspiration for their writing. Working with the guidance of mentors trained by the Young Writers Program, they produced writing that was introspective and poignant.
Working in collaboration, Museo and the Young Writers Programhave developed a classroom unitbased on curated works by contemporary Latino/a artists. These thought-provoking images are a stimulus to teens for writing personal narratives under the guidance of their Young Writers Program-trained mentors. The 8-10 week unit results in full-color, hardbound books that demonstrate how fine Latino/a art and its cultural content can evoke strong emotional and intellectual connections and inspire a young writer. A third book will soon be made available. Preview the books and find out more in the Educator Resources section of our website or purchase from Bookshop Santa Cruz.
Museo will be participating again this year – look for our invitation to explore the art of Frank Galuszka on Slow Art Day, Saturday April 8th
Slow Art Day is an international movement to encourage slow looking and conversation. Look for our invitation to get your cell phones out and participate this Saturday – opening at 6am and continuing all day.
Click to preview or read the article in the Wall Street Journal:
He paints quickly, as if to make sure he captures the thought, the insight while it is still fresh. The very elision of the brushwork shivers with movement, if not urgency, at least a swiftness of purpose. And confidence.
On a winter afternoon the light pools down around the floor of the huge, empty room where the figures appear to be assembled. A thickening of texture, sfumato, permeates the upper reaches of the room. The chandeliers are no longer lit, only a few windows allow some illumination to pierce the cavernous interior.
The child’s pale halo of hair arrests our gaze. For this one frozen moment it has captured what light there is in the room.
But something else is going on as well. Velasquez has caught the decline, the darkening fortunes of this house of Hapsburg. The king and queen are now seen, glimpsed actually, as indistinct, hazy reflections in a small mirror at the back of the room. They are in fact reflections of reflections, since the entire painting itself is an image captured in a huge mirror – the mirror that must presumably stand in front of the figures we see, as they see themselves.
Yet it is our gaze that is required to complete this picture. What Velasquez is painting is us looking at the figures reflected in the mirror. We see him painting – his hand is blurred with movement, the paint fresh and puddled on his palette. He looks up to check that we are paying attention.
This painting captures us, our gaze, the viewer – and once we begin to enter the space of the painting, it closes behind us. We are within it. Inside. Our gaze completes it. Velasquez has not only painted himself-painting-this-painting. He has painted our complicity with the act. He has painted us reflecting upon, and reflected within, the moment that he is making the painting. The process either never ends — in which case the moment of the painting is eternal— or it is one which has become a world, a perpetual Now. It is an aesthetic act of self-referentiality in which the artist painting has become simultaneously the object painted, as well as witness to the witnesses of both act and outcome.
La Vista Totale: a partial view
Just as in the uncanny event of Velasquez’ Las Meninas, the 20-year oeuvre of painter Frank Galuszka invites us to sample a point of view in which our viewing is already anticipated by the image. Each painting of his on-going self-referential series, La Vista Totale: a partial view, is dialectically linked —by a subliminally embedded iconography—to every other. Much as two mirrors, placed just so, provide a dizzying sequence of curved reflections that seem to continue on into infinity — or into a world that is suggested and yet not fully visible — inhabitants of Galuszka’s LVT network (over 45 paintings so far) refract and reflect each other, yet from possible (or impossible) fictional futures (and pasts).
His interlocking network/narrative invites the viewer to complete a thought, or event just out of view. It is our presence that ignites the organism. Ours is the partial view that conspires with the totality of images. He, like Valesquez, has captured us and uses our embodied gaze to animate his cosmos-in-progress.
As with Borges’ The Garden of Forking Paths, Galuszka’s expanding series of inter-mirrored images begins not with an origin myth, but with a mystery. We are dropped into a saga that is already well underway. We are entranced even as we are perplexed. Somewhere (we suspect) there is a missing explanation about which (we eventually realize) we are co-creators. What Galuszka’s richly-wrought enigmas intend is up to us, to our own desires and inquiry. And in asking about la vista totale, we are ensnared in its multiplicity of perspectives. It reveals to us as much about ourselves as it does the painter’s mercurial skill.
On behalf of the collaboration between Young Writers Program, Pajaro Valley Arts and Museo Eduardo Carrillo, we are proud to share this letter of thanks from Michelle and Barack Obama.
They received the educational materials based on Latinx Art which grew from partnership.
The two full color books “The Art of Who I Am” and “Hablamos Juntos: together we speak” exemplify how cross pollination between Latinx art and the significant writing mentor ship provided through the YWP can bring out the deepest feelings and profound reflections in fine writing by our community teens.
Even now, almost twenty years after his death, it’s difficult to separate the man from his work. Both burned brightly, bursting with energy. Now only the paintings remain.
I was drawn to Eduardo Carrillo even before I realized that he was an extraordinary painter. Warm and genuinely comfortable in his skin, Ed personified the laid-back spirit of this coastal stretch of California. Although his ances – tral roots were in Baja, he was quite willing to pepper his unpretentious persona with plenty of Los Angeles hipness when the occasion required
Museo Eduardo Carrillo has received a grant of $10,000 from the Community Foundation of Santa Cruz County to fund the First Watsonville Art Walk from September 3- November 3, according to Museo’s Executive Director, Betsy Andersen.
The Art Walk will feature the “Hablamos Juntos: together we speak/ Contemporary Latino Broadsides” series. Artists will be attending. It is a major educational project of Museo Eduardo Carrillo and Pajaro Valley Arts. The banners show Latino art in an array of mediums from artist throughout California. The series will be expanding. Each banner has text in English and Spanish, written by teens in the Young Writers Program.
The grant from the Foundation gives us the resources to create a self guided walking tour and map in which Latino art is the main feature. This free event allows unlimited access to the art. We’re ecstatic about the support and vote of confidence from the Community Foundation of Santa Cruz County and fiscal sponsorship through Arts Council Santa Cruz County!
Note: (if you are on a mobile device, you may be prompted to download the exhibbit app)
Click the images to view full size. Add your responses below in the comments
Artist: Juan Fuentes
“My muscles ache, too. His labor goes unnoticed by many, but not by me.”
—Yesenia Matias Chavez, UCSC Student and Writing Project Assistant
Artist: Ivan Rubio
“The picture I picked out reminds me of my Uncle Georgie. My Uncle Georgie is a buff, ‘tall ass foo’ and he’s all tatted up from his neck down to his legs.”
—Chris Rosete, Young Writers Program
Artist: Judithe Hernandez
“Maria’s childhood was difficult. She grew up in a neighborhood where guns were like fireworks at night. Houses were falling apart, with broken windows. It was a very lonely neighborhood.”
—Alexis Rangel, Young Writers Program
Artist: Xavier Jiramontes
“When my family immigrated to Watsonville from Michoacán, Mexico, they bought a house in a white neighborhood. [Their neighbors] would drive by in their cars and yell out all kinds of racist names like ‘beaner,’ ‘wetback,’ ‘greasers,’ and ‘aliens.’ But despite all that my family stayed on the block.”
—Anthony Garcia, Young Writers Program
Artist: Carmen Leon
“The title of this artwork is called “The Portal.” This symbolizes the transformation I made from being a kid to the high school teenager I am today.”
—L.R., Young Writers Program
Artist: Jesus Barraza & Melanie Cervantes
“I’m Mexican and I’m proud of that—I wouldn’t change it even if I could.”
—Jose Antonio Ortiz, Young Writers Program
Artist: Hector Mendoza
“The barb wires in this picture made me think of a lot of difficult times I’m still going through.”
The Art Department faculty was pleased to select 21 students as the 2015 Eduardo Carrillo Scholarship recipients. Students were selected from a large pool of junior and senior Art majors in good academic standing, who are receiving financial aid, and working in the areas of painting, drawing, and sculpture. Each applicant submitted work samples, a project proposal, research agenda and an itemized budget for consideration. Their projects ranged from a series of six paintings, related to the cruelty and brutality currently proliferating under the regimes of the Taliban and the Islamic State of Iraq and Syria (ISIS) to an investigation of LED light sculpture, to relief and intaglio printmaking techniques that explore social issues of race, class and gender. There is an incredible breadth and depth of talent and interests with this year’s cohort.
The 2015 Carrillo Scholarship recipients demonstrated a proficiency in a range of techniques and media within their respective disciplines. They were clearly able to imagine, create and resolve their work as indicated in the samples they provided and in the project proposals they submitted. Furthermore, these students communicated a strong familiarity to analyze forms of contemporary art with a clear understanding of historical precedents. On behalf of the entire faculty and staff of UC Santa Cruz’s Art Department, I want to congratulate the 2015 Eduardo Carrillo Scholarship winners and wish them the best of luck on their current and future creative endeavors.
I see my work as an intuitive expression that is transformed into a physical entity. I work with many different subjects, not fixed on any one idea. Many of my subjects incorporate self-identity with the human figure. .For me, art is a journey; a state of being, independent of outcome. It’s about spending time with myself, and through this process, I am awakened. Therefore, my art making process does not include much sketching and recording beforehand. Rather, I like to leave my options open as I work and allow the textures and materials to guide me. Through my artwork, I hope to pass on to the viewer my inspiration to see and recognize the subject, not only to look at the piece.
I am a sculptor and social documentation photographer. I celebrate people and space. Where people live, how people make and use space, and the objects people need and consume are central themes and questions guiding my work.
I use portraiture to honor and tell stories of people who have been historically under or misrepresented; consent and trust-building are essential principles in my photograph making. Imaging the relationship between space, objects, and people help us to see differences in lived experience, which illuminates larger social issues or questions.
Caetano Gil Santos
My works are obsessively composed and compulsively graphic. Carefully drawn lines mingle to create a visual narrative that emerges and references contemporary underground culture. I am heavily influenced by the reckless and dangerous DIY aesthetic of skate, graffiti, and party culture, in which I draw upon to create antagonistically woeful imagery. Much of the iconography within my drawings and etchings allude to the vivacious lifestyles of youthful expression as I depict condoms, pills, alcohol, drugs, floating alongside graffiti caps and stylized fictional monsters. I create an atmosphere of static dissonance, which resonates, throughout my work, referencing the transition between a careless youth to a responsible adult. Precariously placed figures interlaced with sturdy cityscapes depict a superficial sense of security.
Hailing from Los Angeles, California, a city compacted with large amounts of traffic and advertising, I am constantly being stimulated with a dense amount of visual imagery. I evoke this barrage of stimuli in my work through the repetition of closely packed line work. I come from Mid-City Los Angeles, a community on the edge of two different realities. In a few blocks you go from a poor neighborhood of predominantly black and Latino communities with liquor stores on every corner to an affluent predominantly white neighborhood.
The contemporary art process of idea formation before conceiving the work, holds little relevance to my design based graphic style of making art. I feel restricted by the notion that concept should come before creation. I explore what image making is while producing it, leaving the concept behind in order to freely discover all possibilities of image making. Much like a producer edits a song on the whim of a feeling, I add and subtract forms continuously until there is a harmony within the work.
Heileng Chio specializes in designing and painting in oils and acrylics. She paints in surrealistic style and creates artworks influenced by rooster. The rooster has a familial meaning to Heileng because she, her parents, and her twin sister belong to this Chinese Zodiac. This animal portrays a unique bond shared between her family members; it reminds her of her personal connection to her family.
Darrel McKelvie Ruppel
Holding a forceful instrument of social construction while enthralled with overwhelming yet momentary emotions, I use sculpture and performance to engage observers in interactive art. By participating and contributing to experiences and conversations, help me build an environment that promotes intimate thought, encourages shared knowledge, and redefines our purpose as human beings.
Formerly a manufacturer of heavy artillery, my vessel of a body and penetrating voice now guide fellow humans to divert social activities through a shifted perspective: one that empathizes with all sentient beings, non-animal life included. By tantalizing viewers with irresistible temptations toward action, I focus on the reciprocal relationship between the audience and the performers, blurring lines of obligatory or secluded involvement and satisfactory completion of a work.
When constructing visual works that elude connected performance, a similarly charged energy of life must be present—that is, an interaction must occur between the viewer and the subject that transcends creation and observance and approaches collaboration. This form of sculpture has lead to my most current examination of human influence, spanning from sound-reactive light sculptures to reimagined domesticated animal habitats to two-day long interviews, as I begin to examine physical presence within a monitored space.
I plan to create a series of dog portraits attempting to capture the personality of each dog through color, composition, and brushstroke. My intention is to create large scale portraits harnessing half-realistic and half-abstract in styles to present a new perspective on the dog that would not be seen in a normal portrait. Dogs have been a part of my life since the beginning, with this I believe they possess a love sometimes difficult for fellow human beings to present to one another; I aim to present this series as a representation of said love which allows us to see these animals in a new light.
Grace Hazel Simpson
I have chosen art the same way art has chosen me. My purpose as an artist is partly selfish but mostly altruistic; I need art in my life to express my creativity and because it feeds my soul; but I also feel a compulsion to share my perspective through my photography to the public eye.
As a visual and kinesthetic learner, I yearn to use my hands and create tangibly. In this way, my art becomes real to me and I am able to better communicate with my audience what I am expressing.
As an artist, I create images through photographic techniques, printmaking, and mixed media, incorporating painting and drawing into my art images. My themes show my connection to nature and my observations of light and space, often involving ideas of the feminine. Within these themes, moods alter to express human experience, incorporating the beauty, the ugly, and the nitty-gritty.
Creating art makes me feel like I am pushing back on all of the outside information constantly being consumed by my senses. It allows me to de-tangle my thoughts and turn them into something tangible within my physical reality. I am interested in how ideas come to be as well as what connects everything and everyone together. Metal is my favorite medium to work in because I feel like it is permanent and unwavering, countering the uncertainty and constant change of everything else in life.
Jazel Socorro Muñoz
I use art as a conduit to self-exploration. A common theme I mostly gravitate to express is transcendence and entanglement. I am fascinated by concepts of our existence, the supernatural, the human experience, death, life after death, and the human connection.
The illustrations, photos, and installations that I make explore relationships between people and landscape. I grew up with many ecstatic memories in a semi-wild, coastal environment and discovered how good it feels to be physically connected to nature. Today, I make art in order to restore, build, and deepen relationships with the natural world.
The energy of landscape and its emotional and spiritual vibrations are influential and vital to the decisions I make while producing photos. By manipulating and applying abstraction to landscape photography, I investigate the energy of landscape. Sometimes an image is a poor substitute for the visual, physical, and spiritual experience we have in the natural world. So, I alter colors, textures, and layers of real places to create landscapes that emit energy, emotion, and awaken the imagination. My photos are alcohol transferred onto watercolor paper or wood. These images are characterized by their imperfection. You can tell the photo wasn’t printed by a machine.
When experimenting with installation, performance, and conceptual work, I juxtapose man-made and natural materials to build visual metaphors regarding the power of nature. I incorporate the surrounding environment into my artwork and involve myself and the viewer in a physical way.
Leonor A Pereda
Through my art, I create spaces for situations and introduce new ways of interaction.The meaning my work lies in the space between the person and the interface I have created be it electronic or traditional. My electronic installations challenge the passive viewer to have a kinetic relationship with the piece and my traditional work examines life through a critical lens and creates the space for the viewer to consider subjects like homelessness and marginalized people in art.
Torus:This flying disk is meant to remind viewers of the possibility of other intelligent beings and the mysteries beyond our reality. Mystery is important for imagining a reality infinitely different from the one we accept regularly. The piece invites participants to imagine unknown or alien ways of perceiving the universe and our place in it
Moon Clock: A short film about alternate realities and paranoia featuring footage from Godfrey Reggio’s Koyaanisqatsi, monologue from Richard Linklater’s Slacker, and music by the musician Christ. The two-part video shows distorted, layered, and masked moments of daily life, sped up and slowed down dramatically to represent unclear memory and an elusive present that is simultaneously always and never happening. Poorly keyed visual effects portray concepts of reality as kitsch and made-up, but artificial time and space morph into eerie uncertainty.
The intentions behind my artwork are to honor my grandmother and my late grandfather who have sparked my interest in learning more about my ancestral and cultural origins. I utilized a puzzle style painting technique to portray them as pieces that form part of my family tree and depict them in muted and achromatic colors. Through the use of darker and lighter shades of color I am able to capture their emotions and convey their characteristics during a time when they were younger.
2015 Carrillo Scholarship Recipients Gallery
Click to enlarge