About Eduardo

Mourning — A Secret Society

Ed Remembered, About Eduardo, About 2 responses

by Alison Carrillo

Rich in my poverty
Bellowing for my beloved
He is gone
He is gone
And left me with all the secrets
of the mine.

It’s hard to be a widow. People are afraid of me. They don’t know what to say. Who knows what to say? I don’t know what to say. I’m speechless most of the time. They don’t know whether to mention “it”. Instead of saying, “How’s your grieving coming?” which doesn’t seem that hard to think up, I mean, it’s relevant anyway, they will talk about anything else to distract from their discomfort about not knowing what to say. I feel for them. It’s most awkward.

Of course, some people do say, “How are you today?”

What I would love to hear is, “Oh my dear, I am so sorry you lost your sweetest love.”

That would make me cry and then you could hold me and I would feel better. We would be closer and you would have helped me at a hard moment. All moments are hard because they are a reminder that he is gone. I am constantly reminded that he is gone. What do you say in the face of such a brutal reality?”

Say, “I’m so-o-o sorry,” and then touch me.

Yes, I forget that he is gone when I am busy with something else,but in-between my forgetting I remember. The more I cry, the more I shine. I see it in my skin and eyes.

This widow’s road is incomprehensible. I had no idea. When Joan suffered three years ago I could barely comprehend it. It’s another world. It’s an experience of the other world. It’s a secret society, hidden. Who wants to feel such great loss? No one, we hate it, we want to keep it hidden. Mom said, some women would be glad if their husband died. That was her
experience of marriage. Not so when a woman has lost her true love.

After nine months when the shock started wearing off and I began feeling worse, Pam said to me,

“Oh, you’re in the abyss.”

“The abyss?” I said. There’s an abyss? I’ve heard about it, is this it? This feeling of free fall down a black hole where I have no idea where I will land? Yeah, I said, that’s where I must be, in the abyss.

Every morning I wake up and fall farther. Oh, this again.

Night is the high point of my day when I reconnect with Ed. I remember a dream where we were lying together and I was begging him, oh please Ed, can’t we be together in some way, can’t we at least be lovers? He closed his eyes and enfolded me in his arms, no, my darling, not now. I sobbed as he rocked me gently.

It is hard enough for him to die. For him to stay dead is my outrage.
Everyday he is dead again. Everyday I remember. It still is shocking. Dead? No! Impossible! Our life was my life, how can it be over? And there is nothing I can do but submit to the vicious truth. By nightfall my horror is complete and has broken down to resignation. I surrender to sleep, the blessed balm, and into the arms of my beloved.

This much I know. If you want to comfort a widow there are four things that make a difference: show up, hug, listen and cook. Don’t get me wrong, Cards are nice, especially as they evoke memory and tears. If you want to feel better, like you expressed your sorrow, done your part, send a card or call.
Say things like, if there’s anyway I can help let me know, or, we’ll have you over when the crowd leaves. But these are more for the sender than the one who is grieving. If you truly want to comfort your friend, then show upat her house. Listen to her. Hold her in your arms. Give her a safe place to weep and rage. She needs touch, food and sleep. Eating is a problem, she cannot taste and has no appetite. Cook simple meals like rice andlentils and sit with her while she chews and swallows. Give her glasses of water. Whereas she used to sleep in the arms of her beloved now she is alone. She will get used to this soon enough but if you can, spend the
night with her, stroke her and sing lullabies as you would to comfort a child. This is your beloved sister who needs you right now. Do you know how deep is the love you are showing her? Do you know how much she appreciates your being there and how strong is the bond you are forging? Yes, you do, because you too have suffered or know that you will soon
enough. The truth is this is a solo journey. There is nothing anyone can do to relieve the pain. That is the frustration of it. If only there were a pill, a platitude. But no, there is nothing save to weep and dream.

Father Hidalgo

In His Own Words, About Eduardo, About 1 response

Father Hidalgo in front of the Church of Dolores

Eduardo Carrillo
September 15, 1979

The 44 foot long tile mural entitled, “Father Hidalgo in front of the Church of Dolores,’ is comprised of approximately 300 hand made tiles each measuring 12 inches square by one inch thick, and weighing close to ten pounds. These tiles were produced in a studio set up in Santa Cruz County expressly for this purpose and were fired in electric kilns to a temperature over 2000 degrees.

The mural is a representation of Father Hidalgo y Costilla mustering his insurgent army in front of the Church of Dolores in Guanajuato on the night of September 15, 1810, commonly known as “El Noche Del Grito.” Many of the figures depicted are specific characters who actually participated in the events that evening. Others I have chosen to include because of the enormous contributions they had made to the movement for independence.

In order for this event to be seen in its historical perspective, it should be known that for months prior to this auspicious evening, secret meetings had been taking place in Querretaro and other Mexican cities. Dona Josefa Ortiz de Dominguez ( who is represented to the far right in the mural) was an active participant in these meetings. Her daughter, behind her, was betrothed to Captain Ignacio Allende, an officer in the Queen’s dragoons stationed in San Miguel. (We see Captain Allende on the front horse on the mural’s left side.)

These meetings were attended chiefly by Criollos- people of Spanish ancestry, yet born in America. The Criollos were dissatisfied with Spain’s rule over Mexico; specifically the imposition of high taxes upon them-the funds being used to finance Spain’s alliance with France in battle with the English. Furthermore, Mexicans were no longer allowed to produce such products as wine and olive oil since that would put them in competition with Spain. To emphasize this, Father Hidalgo’s own vineyard was ordered cut down.

The rising dissatisfaction resulted in plans being laid to carry out an armed revolt in October of that year. These plans were thwarted when a cache of arms was discovered by Spain’s Royalist Soldiers in the home of Epimenio Gonzales (Gonzales is pictured in the center with a spear in his left hand). Alarmed, Dona Josefa sent a message to Hidalgo with Ignacio Perez (who is pictured on horseback behind Allende) to alert Hidalgo-who had played an important role in the collecting of arms- of his imminent arrest.

Ignacio Perez arrived in Dolores around midnight, together with Juan Aldana who had accompanied him from San Miguel ( Juan Aldana is center figure with vertical rifle). When Perez and Aldana went to deliver the message to Father Hidalgo , it is said that Hidalgo opened the window of his office and shouted out to the passerby that the only recourse was to commence immediately with war against Spain.

Hidalgo gathered the members of his household, including his younger brother Jose’ Mariano, and Ignacio Allende who was staying with him. They went to the jail and released the prisoners and took some guns from the armory. But the majority of his band was comprised of Indians from near the city of Dolores who had come to town to take part in the feast day of the Virgin of Dolores.
(In the mural, these participants are represented on the far right surrounding the woman making tortillas.) The area of cornstalks to the right symbolizes the Indian culture and religion in pre-hispanic times.

At 5:30 a.m., El Cojo Galvan, the church bell ringer and alter boy, sounded the bell to call the people to church to attend Mass (in the mural he is pictured behind Hidalgo holding a lamp). Hidalgo appeared before the people at the church and summoned them to battle. A replica of this bell has been installed here in the plaza to commemorate this historic night.

The musicians who were in Dolores for the feast day are represented in the mural because they were present at the
Declaration of War. Also they symbolize the importance of music in the everyday life of the Mexican people.

Other significant characters I have chosen to depict include: Dona Maria Tomasa Estevez y Salas, who in 1814 was to become a commissioned officer in the troops of Salamanca and eventually to be captured and beheaded as were many others. She is depicted holding a tilted scale representing the political injustice of the times.

Jose Maria Morelos y Pavon, a mulatto, is pictured in the mural on Hidalgo’s when he was Rector of the University of San Nicolas. He was to distinguish himself as an outstanding officer, taking the City of Acapulco with less than one thousand men, many of whom were mulattos and Negroes. The city of Morelia was named after him.

On Hidalgo’s left is the standard of the Virgin of the Virgin of Guadelupe which was removed from the Church of Atotonilco in a nearby town on the following day to be used as a banner in the campaign to rally Indian enthusiasm. It is interesting to note that a couple of centuries earlier, Hernando Cortez had made use of a similar banner of the Virgin Mary in his march to Tenochitlan.
Finally, Father Hidalgo, the key figure in the mural, is standing just to the right of center with Aldana pointing to him. He is holding a letter in his right hand symbolizing his authority as a learned man, a man with great depth of understanding of social problems and a powerful ability to express himself both in letters and in his speeches. He became the leader of the independence movement and though he had no military experience, was named Captain General. Hidalgo’s army grew to 80,000 before finally being dispersed upon attempting to enter Mexico City. A few months later, Hidalgo, along with Allende, Aldana, and Jose Mariano were captured on their way to Texas where they had hoped to regroup their army. They were all shot to death, Hidalgo first being excommunicated. While Aldama shifted the blame to Hidalgo, Allende begged for mercy. Hidalgo never asked for forgiveness, realizing that time would verify his actions. The heads of these four soldiers were cut off and were placed on the corners of the Alondiga de Granaditas (granary) in Guanajuanto.

Nowhere in America is history manifested in quite such an explosive and violent form. At the same time, the issues and intricacies of the developments of 1810 were so cloudy that the true contributions of Hidalgo and his colleagues remained unverified and unacknowledged for fifty years thereafter.

Artist Statement

In His Own Words, About Eduardo, About, , , , , , , leave a response

Four x Four Artist Statement
Santa Cruz Art League
Santa Cruz, CA
August 3, 1993

My first memory of seeing painting, stained glass and sculpture statuary of religious imagery was in churches while growing up in Los Angeles. Later as an undergraduate at UCLA I took a leave and went to live in Madrid for over a year. There I developed an understanding of the Spanish Colonial Baroque which has had an impact on my painting. I also painted to scale a copy of Hieronymous Bosch’s “Temptation of St. Anthony” from the original at the Prado Museum.

Further influences on my work came from my cultural heritage rooted in Baja California. Dona Maria Leree, my grandmother, moved from Malege to San Ignacio as a young girl. My mother Rebecca was born in San Ignacio. The town is dominated by the Mission of San Ignacio de Kadakamen which was situated on higher ground above a large seasonal riverbed cultivated with a million date palms. The Mission was established in 1738 as part of a network of missions of the Spanish empire. About twice a year I visit my studio there which overlooks the town on a piece of land my mother left me. Back in the early sixties I painted the Four Evangelists in the Mission. The paintings are after El Greco. When the new highway was inaugurated by President Echeverria in 1969 he had one of the paintings taken to Mexico City presumably for authentication; it was returned to San Ignacio some time later.

During the late sixties when I lived in La Paz I became more aware of Indian cultures. I worked for three years establishing a Regional Art Center with Daniel Zenteno, a potter descended from the Zapotecs. Through Daniel’s pottery forms I learned of the Zapotecs and the Mixtecs and through visits to Mexico and its pre-columbian sites I gained a basic understanding of indigenous cultures of Mexico. Through the seventies I kept looking at myself for some evidence of some indigenous blood. I looked at my skin, my hands and feet. Was my 4’10” grandmother part Indian? Where did my features come from? As well I had these green eyes of a European ancestor. A jump ship off the Cabos? Pirates? I mused. In 1976 I painted a mural in the Palomar Arcade (17″x40″x8″) entitled “Birth, Death and Regeneration” which was the work in which I best synthesized the Spanish and Indian cultures. This mural was unfortunately destroyed in 1979.

In 1979 I received a commission to create a tile mural for Plazita de Dolores in Los Angeles commemorating the populist revolutionary movement led by Father Miguel Hildalgo in 1810. Hildalgo is represented in front of the Church of Dolores on the morning when he assembled the beginnings of his raging army. Under the aegis of the Virgin of Guadalupe he followed a mercurial career as a revolutionary leader of an essentially Indian army before being shot by a firing squad in 1812. This mural, painted with oxides and glazes and fired on one foot square tiles was also an opportunity to deal with figure composition.

I would like to draw your attention to the painting “Another Last Supper”. In the process of painting I found that many questions, trials and reflections took place within me. First of all it’s a painting, an allegory of the creative act of transformation of one thing to another, it is about illusion to the point of deception (in the case of Judas). There was also the experience of trust between the sitter and painter. Many of my friends came to sit. Their figures were modeled by professionals, as surrogates for friends I had in mind as apostles, but who did not model either because they did not have time, they were too big for the painting or could not hold still for the required time. There are lots of elbows knocking the space around. Lots of consideration of intensities of light and limited range of color. Lots of moments of special significance. I leave it to the viewer to come upon them in their own time, not being one to give away all my secrets. Often I felt empty and wanted to quit, putting the painting face to the wall. Yet I am glad when I return to it and bring it to a new level of resolution. I have always felt an enrichment of the spirit through the practice of painting and I am happy on this occasion of this exhibition to share these works with you.

Curriculum Vitae

About Eduardo, About leave a response

Eduardo Carrillo 1937-1997

POSTHUMOUS RECOGNITION AND EXHIBITIONS
2009 Solo exhibition at Museum of Art and History, Santa Cruz, CA
2008 Solo exhibition National Steinbeck Center, Salinas, CA
2007 Intimate Landscape Exhibition, curated Frank Galuszka, Mary Porter Sesnon Gallery, UCSC and Christopher Grimes Gallery, Carmel, CA

“California in Conneticut,” Joanne and William Rees Collection, New Britain Museum of American Art, New Britain, CT Second Carrillo Prize in Painting Awarded
2006 Art of Engagement, Peter Selz

First Carrillo Prize in Painting Awarded
2005 Carrillo Prize in Painting Awarded with the San Jose Museum of Art

Launch of the Museo web site
2004 Establishment of the Eduardo Carrillo Scholarship, University of California, Santa Cruz
2002 Inception of Museo Eduardo Carrillo
2001 Joseph Chowning Gallery, San Francisco, CA#
1999 Joseph Chowning Gallery, San Francisco, CA
1997 “Paintings”, Eduardo Carrillo, Joseph Chowning Gallery, San Francisco,CA

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SOLO EXHIBITIONS
1995 Joseph Chowning Gallery, San Francisco, CA
1992 Joseph Chowning Gallery, San Francisco, CA
1990 Joseph Chowning Gallery, San Francisco, CA
1988 L.A. Louver Gallery, Venice, CA

Joseph Chowning Gallery, San Francisco, CA
1986 Crocker Museum of Art, Sacramento, CA
1985 Joseph Chowning Gallery, San Francisco, CA
1982 Joseph Chowning Gallery, San Francisco, CA
1980 Open Ring Gallery, Sacramento, CA
1975 Open Ring Gallery, Sacramento, CA

California State University, Los Angeles, CA

Santa Cruz Public Library, CA
1972 Brand Art Library, Glendale, CA

Crocker Art Gallery, Sacramento, CA
1971 Cowell College, University of California, Santa Cruz, CA
1968 Sala de Bellas Artes, La Paz,B.C., Mexico
 
1965 La Jolla Museum of Contemporary Art, La Jolla, CA
1963 Ceeje Gallery, Los Angeles, CA

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GROUP EXHIBITIONS
1993 “CARA- Chicano Resistance and Affirmation”, San Antonio Museum of Art, San Antonio, Texas

“CARA- Chicano Resistance and Affirmation”, Bronx Museum, New York

“Landscape’, Skyline College, San Bruno, CA
1992 “Puertas de Luz”, Galeria Nueva, Los Angeles, CA

“CARA- Chicano Resistance and Affirmation”
Tucson Museum of Art, Tucson, AZ
National Museum of American Art, Washington, D.C.
1991 “CARA- Chicano Resistance and Affirmation”
Denver Museum of Art, Denver, CO
Albuquerque, New Mexico
San Francisco Museum of Modern Art, San Francisco, CA
Fresno Art Museum, Fresno, CA
“Four x Four”, Santa Cruz Art League, Santa Cruz, CA
 
1990 “CARA- Chicano Resistance and Affirmation”, Touring exhibition organized and exhibited by Wight Galleries, U.C. Los Angeles, CA

“Mabu Mines: The First 20 Years”, Grey Art Gallery, New York University, NY

“California A-Z and Return”, Included with works of Diebenkorn, Bischoff, Neri, Brown,etc., Butler Institute of American Art, Youngstown, Ohio

“Chas and Eddie Paint the Baja”, Joseph Chowning Gallery, San Francisco, CA

“The Human Figure”, with Joan Brown, S. Mc Donald Wright, Mel Ramos, 1990

Frank Lobdel and others, Joseph Chowning Gallery, San Francisco, CA “Seventh Heaven”, New Museum, New York, NY

“Living Memories”, Louden Nelson Center, Santa Cruz, CA

“Latin American Presence”, Center for the Arts, Vero Beach, Florida
 
1989 “Latin American Presence”, El Paso Museum of Art, TX

“Latin American Presence”, Instituto de Cultura, Puerto Riquena, San Juan, Puerto Rico

“Latin American Presence”, Touring exhibition, included are works by Rivera, Kahlo, Sisqueros, Tamayo, Jimenez, Neri, etc., San Diego Museum of Art, CA

“Mano a Mano”, Oakland Museum of Art, Great Hall, catalogue

“Manos de Atzlan”, 10th Annual Chicano Art Exhibition, Porter College House, U.C.S.C., CA
 
1988-
1989		 “Lo Del Corazon: Heartbeat of a Culture”,
Allis Museum, Milwaukee, WI
Fisher Gallery, University of Southern California, Los Angeles, CA
San Jose Museum of Art, San Jose, CA
University Art Museum, Arizona State University, Tempe, AZ“Mano a Mano”, 16 Mexican Artists and Latin American Painters, The
Modern Museum of Art, Santa Ana, CA
 
1988 Holiday Art Exhibition, Joseph Chowning Gallery, San Francisco, CA

“Mano a Mano”, abstract and configuration in Mexican American & Latin American painters from the San Francisco Bay Area, Santa Cruz Museum of Art, Santa Cruz, CA

“New Works”, Joseph Chowning Gallery, San Francisco, CA

Group Exhibit, Mendocino Art Center, Mendocino, CA

Group Exhibit, Santa Cruz Art League, Santa Cruz, CA

Group Exhibit, Redding Museum and Art Center, Redding, CA
 
1987 Holiday Art Exhibition, Joseph Chowning Gallery, San Francisco, CA

“New Works”, Joseph Chowning Gallery, San Francisco, CA “The Artist and The Myth”, Monterey Peninsula Museum of Art, Monterey, CA
1986 “American European Painting and Sculpture”, Los Angeles Louver Gallery, Venice, CA

“Heartbeat of a Culture”, Mexican Museum of CA

“Watercolors”, Joseph Chowning Gallery, San Francisco, CA

 
1985 “ Six Painters”, Triton Museum of Art, Santa Clara, CA 1985

“American/ European”, L.A. Louver Gallery, Venice, CA

“Drawings ‘85”, Joseph Chowning Gallery, San Francisco, CA

“New Works”, Triton Museum of Art, Santa Clara, CA

“Made in Aztlan-Chicano Art from the Southwest-15th Anniversary Exhibition”, Centro Cultural de la Raza, San Diego, CA
 
1984 “Ceeje Gallery Revisited”, Los Angeles Municipal Art Gallery, Los Angeles, CA

“Creative Growth”, 7th Annual Art Auction, Oakland, CA

“Santa Cruz Artists”, Galleria Posada, Sacramento, CA

 
1983 “Dia de los Muertos”, Galleria Posada, Sacramento, CA

“Studio Faculty”, Eloise Pickard Smith Gallery, Cowell College, UCSC, CA

“California Currents,” LA Louver Gallery, Venice, CA
 
1982 “California Connections”, Laguna Beach Museum of Art, Laguna Beach, CA

“Five California Artists”, Los Angeles City College Art Gallery, Los Angeles, CA “Sacramento Artists”, Joseph Chowning Gallery, San Francisco, CA

“Self Portraits”, Rio Hondo College, Rio Hondo, CA “The Second Wave”, San Jose State University, San Jose, CA
1981 “Califas, Chicano Art and Culture in California” Sesnon Gallery, UCSC, CA

“Corazon de Atzlan”, Oakes College, UCSC, CA
 
1980 “Ancient Roots/ New Visions”, Palacia de Mineria, Mexico D.F..

“Fuegos de Atzlan”, Oakes College, UCSC, CA
 
1979 “Ancient Roots/New Vision”, nationally organized exhibition,
Everson Museum of Art, New York
Museum of Contemporary Art, Chicago, IL
San Antonio Museum, TX“Father Hidalgo in Front of Church”, Plazita de Dolores, Pueblo De Los Angeles State Park, CA“Recuemos De Hoy”, Studio Obras, San Jose, CA“Visions from Atzlan”, Oakes College, UCSC, CA
 
1978 “Ancient Roots/New Vision”, nationally organized exhibition,
Colorado Springs Fine Art Center, CO
Los Angeles Municipal Art Gallery
University of Houston, Southwest Chicano Arts Center, TX“Bad Painting”, two paintings in national exhibition, New Museum, New School of Social Research, New York“Early Sixties at UCLA”, Fredrick S. Wight Art Gallery, UCLA, CA“Architectural and Historical Paintings and Drawings”,
East Los Angeles Gallery,Whittier, CA“Sacramento Art in Public Places”, project finalist, H.C.D.. Art Gallery, Office of State Architect, Sacramento, CA
1975 “Selected Works from 1960-1975”, Los Angeles Fine Arts Gallery, CSULA, CA

“Recent Work”, Open Ring Gallery, Sacramento, CA
 
1974 “Chicano Art”, Santa Ana College, Santa Ana, CA
1973 “Chicano Art,” University of California, Santa Barbara, CA
1972 Artists Contemporary Gallery Invitational, Crocker Art Gallery, Sacramento, CA

“Sacramento Sampler Show”, sponsored by the U.S. Information Agency, San Paulo, Brazil

Sacramento- Davis Artists, Oakland Museum, Oakland, CAGROUP EXHIBITIONS con’t Comtemporary Artists Gallery, Sacramento, CA
1971 Comtemporary Artists Gallery, Sacramento, CA

Galeria dela Raza Artistas del Valle, San Francisco, CA Chicano Artists from Sacramento, University of California, Davis, CA
 
1970 Faculty Art Exhibition, Sacramento State Art Gallery, Sacramento, CA
1968 Instituto National de Bellas Artes, Mexico City, Mexico Invitational
1967 “Four Painters,” California State University, Hayward
1966 “California ‘66,” Crocker Art Gallery, Sacramento, CA

“25 Years of San Diego Art,” La Jolla Museum, La Jolla, CA

All California Art Competition, San Diego Fine Arts Gallery, San Diego, CA

Prize Winner Inaugural Exhibition of Fine Arts Facilities, Palomar College, San Marcos, CA

“Painting- The Introspective Image,” Long Beach Museum, Long Beach, CA

Traveled to multiple US Museums “Polychrome Sculpture,” Long Beach Museum of Art, Long Beach, CA

“Surrealism Today,” Los Angeles Art Association, Los Angeles, CA

“Sculpture and Collage,” Balboa Park, San Diego, CA
 
1965 Phelan Award Show, Los Angeles, CA

Figure Show, Balboa Park, San Diego, CA

“Annual,” Jewish Community Center, San Diego, CA First Prize

“New Art in Living Space,” Loma Riviera Gallery, San Diego, CA

Purchase Award “Painters of the University of California Extension,” La Jolla Museum, La Jolla, CA

“Annual,” Westwood Art Association, Los Angeles, CA

First Prize “Annual,” Southwestern College, Chula Vista, CA

“Annual,” Long Beach Museum, Long Beach, CA

“Some Aspects of California Art,” La Jolla Museum, La Jolla, CA

Invitational “Polychrome Sculpture,” Southwestern College, Chula Vista, CA Invitational
 
1964 “Pacific Art Classic Invitational,” Van Nuys, CA

“Six Painters of the Rear Guard,” Ceeje Gallery, Los Angeles, CA

“Annual Exhibition,” Whittier College, Whittier, CA

Prize Winner “Painted Sculpture ’64,” Mount Saint Mary’s College, Los Angeles, CA

Three Man Show, Rolf Nelson Gallery, Los Angeles, CA
 
1963 “Concept of Man,” KPFK, Los Angeles, CA

“Painters of the Southwest,” Houston Museum, Houston, Texas
 
1962 Group Exhibitions, Ceeje’s Gallery, Los Angeles, CA

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MURALIST
1985 Finalist, Preliminary Design for Metro Rail Project Mural, RTD, Los Angeles, CA
1884 Finalist, Mural Design for Center, San Francisco Arts Commission, CA

Finalist, Mural Design for Exterior Wall of County Jail, Sacramento, CA
1978 Plazita De Dolores, 44’ x 8’ tile mural, City of Los Angeles, CA
1978 Finalist, California State Project, Sacramento, CA
1976 Palomar Arcade Mural, politec on masonry. Planning and execution of interior architectural painting measuring over 2500 sq. ft., Santa Cruz, CA
1970 June Collaboration on Mural in Chicano Library, Campbell Hal;l, UCLA, Los Angeles, CA

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CURATOR
1982-1983 Third World Exhibit, ASCO Exhibit, Sesnon Gallery, UCSC, CA
1979-1981 “Califas”, Sesnon Gallery, UCSC, CA
Responsibilities- artist selection; correspondence; installation; publicity; publications interviews with artists and press; panel presentation, artist stipends
 
 

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HONORS, AWARDS AND GRANTS
1991 “Interior Views”, Santa Cruz Historical Trust Documentation and Presentation of the artist and studio. Betsy Miller and Cheryl Doering documentarians
1990 “The Human Figure in Painting”, Academic Senate Grant, UCSC Division of the Arts Grant, UCSCFinalist Adeline Kent Award, San Francisco Art Institute, CA
1989 Mexus Grant, for video “Shark Fishermen of San Francisquito”
1985 Division of the Arts Research Grant, UCSC

New York Art Commission Award for “Suenos”, set design, New York
 
1984 Mexus Grant, with Doyle Foreman, for Baja California Rock Art Painting
1983 Ethnic Studies Grant, Califas- Art and Culture in California, UCSC

Division of the Arts Research Grant, with Doyle Foreman, for Baja California Rock Art Painting, UCSC basis for K. Muscutt article in Rock Art Magazine
1982 NEH Grant to fund conference “Chicano Art and Culture in California”
1981 Chancellor Shinsheimer Matching Grant for “Califas” publication
1979 Commission of ceramic tile mural for Plazita De Dolores, Department of Public Works, Los Angeles, CA
 
1978 Finalist Award, Mural Competition, California State Office of State Architect National Endowment for the Arts, Individual Artist Award
1977 Malcolm X Endowment Fund Grant, Mural project for students at Oakes College, UCSC

Instructional Improvement Grant, UCSC
1975 Governor Brown’s Discretionary Fund Grant, Establishment of Academia de Arte, Watsonville, CA
1965 Phelan Award, Los Angeles, CA

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CREATIVE ACTIVITY DESIGNER
1990 “Living Memories”, Set and costume design with Phil Collins, Santa Cruz, CA
1988 “Suenos”, Set design with Boston Musica Viva and Mabou Mines

Northeastern University Tripley Theater, Manhattan, NY1987“The Bald Soprano” Eugene Ionesco. Set design. Directed by Juliette Carrillo UCSC, CA
1986 “Westside Story”, Set design and mural painting, UCSC, CA
1980 Quarry West #13, cover design for special edition, UCSC, CA

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VIDEO
1990 “Shark Fishermen of San Francisquito” Director Documentary Video
1987 “Mi Otra Yo: My Other Self” Field Director, produced for public television by Philip and Amy Brookman

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BOOKS AND MONOGRAPHS
1991 “Chicano Art: Resistance and Affirmation 1965-1985”

“Guide to Historical Monuments, Pueblo Park” City of Los Angeles, CA
 
1989 Illustration of short story, “The Circuit” by Francisco Jimenez. McDougal Littell Reading Literature. Also included work by Henri Matisse, Georgia O’Keeffe and Thomas Hart Benton
1988 “Murals of Los Angeles: The Big Picture”, photographs by Melba Lavick, commentary by Stanley Young. Published by Little Brown and Co. “The Latin American Spirit: Art and Artists in the United States 1920-1970”, Harry Abrams, NY
1986 Illustration for poems by William Rees, New Haven Press, CT

Referenced in “Art in the San Francisco Bay Area 1980” Thomas Albright University of California Press, CA “Arte Chicano”, annotated bibliography, Thomas Ybarra Frausto, Shifra Goldstein

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CATALOGUES
2006 “Art of Engagement-Visual Politics in California and Beyond” Peter Selz

San Jose Museum of Art, CA Katzen Arts Center, American University, Washington, DC
2002 “The Pilot Hill Collection”, Crocker Art Museum, Sacramento, CA
1995 “Temporarily Possessed: The Semi-Permanent Collection” , The New Museum of Contemporary Art, New York City, NY
1990 “California A-Z and Return”, Butler Institute of American Art, OH
1989 “Mano a Mano”, Oakland Museum of Art, Oakland , CA
1986 Monograph, Crocker Museum of Art, Sacramento, CA
1985 “Made in Atzlan- Chicano Art from the Southwest”, Centro Cultural De La Raza San Diego, CA
 
1984 “Ceeje Revisited”, Los Angeles Municipal Art Gallery, CA
1978 “Bad Painting”, New Museum, ed. Marcia Tucker, New York

“The Early Sixties at UCLA”, Fredrick Wight Gallery, UCLA, CA
1975 “Selected Works From 1960-1975”, Los Angeles Fine Arts Gallery, CSULA, CA

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REVIEWS IN PROFESSIONAL JOURNALS AND PAPERS
1992 Artweek -November 19- Mark Van Proyen
1990 San Francisco Chronicle -March 17- Kenneth Baker

Artweek -February -“The Return of the Desert Fathers”, Esther Vecsey

Artweek -October -“Mentiritas”, Katherine Cook

Daily Californian -January- ”A World Away”, Esther Vecsey
1989 Daily Californian -March- ”Mano a Mano”, Esther Vecsey

Artweek -April- ”Mano a Mano”, Mark Van Proyen
 
1989 San Francisco Chronicle, -March- “Mano a Mano”, Kenneth Baker

Theater review, – February-,“Suenos”, Mel Gusson
1988 Los Angeles Times on Museum of Modern Art in New York -December- “Mano a Mano”, Cathy Curtis

L.A. Style- 3rd Anniversary Issue, Color Reproduction

La Jornada, – August-, Theater review, “Suenos”, Mexico City, MX

Boston Herald, -October-, Theater review, “Suenos at Northeastern University, Iris Fangen
 
1984 Los Angeles Times, – Review, William Wilson
1982 Artweek, -September-, Philip Brookman
1981 Arts in Santa Cruz- “Califas- Is Chicano Art Safe in Santa Cruz”

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SELECTED PUBLIC AND PRIVATE COLLECTIONS
Dr. Leon Banks, Los Angeles, CA

Tony Berlant, Santa Monica, CA

William and Teresa Bourke, Washington, WA

Alison Carrillo, Santa Cruz, CA

The Carrillo Family, Los Angeles, CA and Honolulu, HI

John and Jane Fitzgibbon, Pilot Hill, CA

Faith Flam, Los Angeles, CA

Joni and Monte Gordon, Los Angeles, CA

William and Joanne Rees, New Haven, CT

The Capitol Group, Los Angeles, CA

Crocker Museum, Sacramento, CA

De Langes, Mitchell and Linden, San Francisco, CA

Oakland Museum of Art, Oakland, CA

Monterey Museum of Art, Monterey, CA

Mexican Museum, San Francisco, CA

The New Museum of Contemporary Art, New York, NY

Yale University, New Haven, CT

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