{"title":"Latin American artist prints | Unique Art Collection","description":"\u003cp data-mce-fragment=\"1\"\u003eLatin American artist prints | Unique Art Collection, We have assembled this collection over a period of more than 20 years. The vast majority of the MLA Gallery works are by artists who's work we are very passionate about. Feel free to inquire for detailed bios, CV's and more information about this work, or a specific artist. \u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThough we have some work in the gallery that may not be seen here, this is the bulk of the collection. \u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eMLA Gallery offers exceptional customer service and enjoys an outstanding reputation (please see our feedback on Google, Yelp, or Facebook). We have been around for 20 years, with a brick and mortar gallery near downtown Los Angeles. We always guarantee your satisfaction with the any work in the gallery, or your money back.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"le-gout-de-pouvoir","title":"Ramon Alejandro - Le Gout de Pouvoir","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003eDescription\u003c\/p\u003e\n\u003cp\u003eThis is an outstanding serigraph by the renowned Cuban artist, Ramon Alejandro. It is a large image, featuring a sensual, surrealist landscape, with one of his surreal, mechanized creations. It is pencil signed and numbered from an edition of 250. This print is quite substantial, and measures about 33\" x 26\". It was done while Alejandro was living in Paris, in 1991. Alejandro lithographs, etchings and serigraphs are rare, difficult to find, and more than likely will appreciate dramatically over time. He produces a very limited amount of work, and even less original printwork, and his work is very sought after.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eWe guarantee the authenticity of this print, and will offer a certificate of authenticity on our gallery letterhead. This print is in mint condition, and is unframed. It will be accompanied by a copy of the Alejandro book entitled \"Ramon Alejandro, done in Paris, by Art Tribu's in 1999. This print is prominently featured in that book, with a full page, color illustration. We offer a life-time trade in policy.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eMLA Gallery has the largest selection of Alejandro prints in the world. Please inquire for many others.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eJosé Ramón Alejandro\u003c\/strong\u003e is a Cuban painter and writer. Since the late 1960s, his work has appeared in one-man shows in private galleries in Paris, Geneva, and Miami, as part of exhibitions in Israel and cities across Europe, and in exhibits of limited edition books illustrated by artists of note. The Bibliothèque Nationale de France, the Bibliothèque Municipale d’Angers in France, the San Diego Art Museum, and the Miami-Dade Public Library all include his works in their permanent collections.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eAlejandro left Havana in the 1960s to live in Buenos Aires, Montevideo, and Paris, where he stayed for thirty years. In 1995, he moved to Miami. There he founded Editions Deleatur, a publisher focusing on Cuban writers within Cuba and abroad. Alejandro and his work are the subject of the essay collection \u003cem\u003eRamón Alejandro\u003c\/em\u003e(L’Atelier des Brisants, 2006).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Le Gout de Pouvoir","offer_id":149215202,"sku":"1014","price":695.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/sku1013_RamonAlejandro_LeGoutdePouvoir.jpg?v=1562990132"},{"product_id":"beetle-forest","title":"Ramon Alejandro - Beetle Forest","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis is an outstanding lithograph by the renowned Cuban artist, Ramon Alejandro. Typical of his best work, he has employed tropical fruits, as an expression of sensuality. It is pencil signed and numbered from an edition of only 30. This print measures about 22\" x 16\". It was done while Alejandro was living in Paris, in 1989. We guarantee the authenticity of this print, and will offer a certificate of authenticity on our gallery letterhead. \u003cbr\u003eThis print is in mint condition, and is unframed. Alejandro lithographs, etchings and serigraphs are rare, difficult to find, and more than likely will appreciate dramatically over time. His giclees are much more common. He produces a very limited amount of work, and even less original printwork, and his work is very sought after. This print will be accompanied by the Alejandro book entitled \"Ramon Alejandro\". It was done by Art Tribu in Paris in 1999.\u003cbr\u003eMLA Gallery has the largest selection of Alejandro prints in the world. We offer a life-time trade in policy. Please inquire.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eJosé Ramón Alejandro\u003c\/strong\u003e is a Cuban painter and writer. Since the late 1960s, his work has appeared in one-man shows in private galleries in Paris, Geneva, and Miami, as part of exhibitions in Israel and cities across Europe, and in exhibits of limited edition books illustrated by artists of note. The Bibliothèque Nationale de France, the Bibliothèque Municipale d’Angers in France, the San Diego Art Museum, and the Miami-Dade Public Library all include his works in their permanent collections.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eAlejandro left Havana in the 1960s to live in Buenos Aires, Montevideo, and Paris, where he stayed for thirty years. In 1995, he moved to Miami. There he founded Editions Deleatur, a publisher focusing on Cuban writers within Cuba and abroad. Alejandro and his work are the subject of the essay collection \u003cem\u003eRamón Alejandro\u003c\/em\u003e(L’Atelier des Brisants, 2006).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Beetle Forest","offer_id":149215232,"sku":"6020","price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/sku1016_RamonAlejandro_BeetleForest.jpg?v=1562989890"},{"product_id":"cazador","title":"Jose Fors - Cazador","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp class=\"description\"\u003eDone in 2000, this huge etching is 34.5\" x 45\" (88cm. x 114cm.). From an edition of 75, in immaculate condition. \u003c\/p\u003e\n\u003cp class=\"description\"\u003e \u003c\/p\u003e\n\u003cp\u003eThis is a large and exceptionally fine etching by this great artist, in very good condition. These are impossible to find. \u003c\/p\u003e\n\u003cp\u003e\"The expression of facial psychology has rarely been achieved with the detailed realism of Fors. With Renaissance precision, he shows us what cannot be photographed, the spiritual state of suffering that our faces and expressions hide, the obscure realm of sentiment, the abysses of the heart, the desperate lonliness that destroys us\"... Humberto Saldana.\u003c\/p\u003e\n\u003cp\u003eThis exquisite etching is typical of the kind of raw power Fors infuses into his work. This print was done in Guadalajara, Mexico, where Fors currently resides. \u003c\/p\u003e\n\u003cp\u003eBorn July 30, 1958 in Havana, Cuba. In 1967 his family moved to Mexico City, where he spent the last part of his childhood. He spent his adolescence in Guadalajara, Jalisco. In 1990, Carlos Avilez and José Fors founded the musical group CUCA, which performs irreverent rock and hard rock songs, forming part of one of the most recognized bands of these genres in Mexico.\u003c\/p\u003e\n\u003cp\u003eIn 2004, the University of Guadalajara published the book José Fors 25 Years, accompanied by a major retrospective exhibition at the University’s Museum of the Arts. Since 1991 he exhibits annually in his studio. With more than 63 solo exhibitions, 42 group exhibitions around the world, more than 20 recorded albums and a career of 30 years in the CUCA group, José Fors has become a benchmark of tapatío art, receiving countless awards and recognitions. Today, Fors works in Zapopan, Jalisco where he lives with his wife and son Jack.\u003c\/p\u003e\n\u003cp\u003eHis first single exhibition was at the Virginia Miller Galleries, Miami, Florida in 1979. He has had notable exhibitions from Miami, Florida to Washington, DC to Boston, Massachusetts to Winnipeg, Canada to Tokyo, Japan to Guadalajara, Mexico. \u003c\/p\u003e\n\u003cp\u003eHis work is in the permanent collections of:\u003cbr\u003eBlanton Museum of Art, in Austin, Texas\u003cbr\u003eSan Antonio Museum of Art, in San Antonio, Texas\u003cbr\u003eWurth Museum, in Kunselsau, Germany\u003cbr\u003eMuseum of Art at the University of Guadalajara, Mexico \u003cbr\u003eMexican Fine Arts Center Museum in Chicago, Illinois\u003cbr\u003eNational Museum of Fine Arts in Cuba\u003cbr\u003eHouston Museum of Fine Arts\u003cbr\u003eLos Angeles County Museum of Art, California\u003cbr\u003eMuseum of Arts in Fort Lauderdale, Florida\u003cbr\u003eMuseum of the Americas, Nicaragua\u003cbr\u003ePhotographic Library of Pachuca, Mexico\u003cbr\u003eMuseum of Contemporary Arts in Los Angeles, California, among other important institutions. \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Cazador","offer_id":149215242,"sku":"1017","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Cazador.png?v=1456860247"},{"product_id":"abc","title":"Jose Fors - ABC","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003eA large print measuring 32\" x 42\", done in 2000. In immaculate condition.These are impossible to find.\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e \n\u003cp\u003e\"The expression of facial psychology has rarely been achieved with the detailed realism of Fors. With Renaissance precision, he shows us what cannot be photographed, the spiritual state of suffering that our faces and expressions hide, the obscure realm of sentiment, the abysses of the heart, the desperate lonliness that destroys us\"... Humberto Saldana.\u003c\/p\u003e\n\u003cp\u003eThis exquisite etching is typical of the kind of raw power Fors infuses into his work. This print was done in Guadalajara, Mexico, where Fors currently resides. \u003c\/p\u003e\n\u003cp\u003eBorn July 30, 1958 in Havana, Cuba. In 1967 his family moved to Mexico City, where he spent the last part of his childhood. He spent his adolescence in Guadalajara, Jalisco. In 1990, Carlos Avilez and José Fors founded the musical group CUCA, which performs irreverent rock and hard rock songs, forming part of one of the most recognized bands of these genres in Mexico.\u003c\/p\u003e\n\u003cp\u003eIn 2004, the University of Guadalajara published the book José Fors 25 Years, accompanied by a major retrospective exhibition at the University’s Museum of the Arts. Since 1991 he exhibits annually in his studio. With more than 63 solo exhibitions, 42 group exhibitions around the world, more than 20 recorded albums and a career of 30 years in the CUCA group, José Fors has become a benchmark of tapatío art, receiving countless awards and recognitions. Today, Fors works in Zapopan, Jalisco where he lives with his wife and son Jack.\u003c\/p\u003e\n\u003cp\u003eHis first single exhibition was at the Virginia Miller Galleries, Miami, Florida in 1979. He has had notable exhibitions from Miami, Florida to Washington, DC to Boston, Massachusetts to Winnipeg, Canada to Tokyo, Japan to Guadalajara, Mexico. \u003c\/p\u003e\n\u003cp\u003eHis work is in the permanent collections of:\u003cbr\u003eBlanton Museum of Art, in Austin, Texas\u003cbr\u003eSan Antonio Museum of Art, in San Antonio, Texas\u003cbr\u003eWurth Museum, in Kunselsau, Germany\u003cbr\u003eMuseum of Art at the University of Guadalajara, Mexico \u003cbr\u003eMexican Fine Arts Center Museum in Chicago, Illinois\u003cbr\u003eNational Museum of Fine Arts in Cuba\u003cbr\u003eHouston Museum of Fine Arts\u003cbr\u003eLos Angeles County Museum of Art, California\u003cbr\u003eMuseum of Arts in Fort Lauderdale, Florida\u003cbr\u003eMuseum of the Americas, Nicaragua\u003cbr\u003ePhotographic Library of Pachuca, Mexico\u003cbr\u003eMuseum of Contemporary Arts in Los Angeles, California, among other important institutions. \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"ABC","offer_id":182703382,"sku":"1021","price":1100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/files\/WhatsAppImage2025-11-02at13.19.27_1.jpg?v=1762127609"},{"product_id":"a-is-a","title":"Jose Fors - A is A","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003eDone in 2000. 27.5\" x 35\". Signed and numbered from a small edition. In outstanding condition.\u003cbr\u003e\n\u003cp class=\"description\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003eThis is a large and exceptionally fine etching by this great artist, in very good condition. These are impossible to find. \u003c\/p\u003e\n\u003cp\u003e\"The expression of facial psychology has rarely been achieved with the detailed realism of Fors. With Renaissance precision, he shows us what cannot be photographed, the spiritual state of suffering that our faces and expressions hide, the obscure realm of sentiment, the abysses of the heart, the desperate lonliness that destroys us\"... Humberto Saldana.\u003c\/p\u003e\n\u003cp\u003eThis exquisite etching is typical of the kind of raw power Fors infuses into his work. This print was done in Guadalajara, Mexico, where Fors currently resides. \u003c\/p\u003e\n\u003cp\u003eBorn July 30, 1958 in Havana, Cuba. In 1967 his family moved to Mexico City, where he spent the last part of his childhood. He spent his adolescence in Guadalajara, Jalisco. In 1990, Carlos Avilez and José Fors founded the musical group CUCA, which performs irreverent rock and hard rock songs, forming part of one of the most recognized bands of these genres in Mexico.\u003c\/p\u003e\n\u003cp\u003eIn 2004, the University of Guadalajara published the book José Fors 25 Years, accompanied by a major retrospective exhibition at the University’s Museum of the Arts. Since 1991 he exhibits annually in his studio. With more than 63 solo exhibitions, 42 group exhibitions around the world, more than 20 recorded albums and a career of 30 years in the CUCA group, José Fors has become a benchmark of tapatío art, receiving countless awards and recognitions. Today, Fors works in Zapopan, Jalisco where he lives with his wife and son Jack.\u003c\/p\u003e\n\u003cp\u003eHis first single exhibition was at the Virginia Miller Galleries, Miami, Florida in 1979. He has had notable exhibitions from Miami, Florida to Washington, DC to Boston, Massachusetts to Winnipeg, Canada to Tokyo, Japan to Guadalajara, Mexico. \u003c\/p\u003e\n\u003cp\u003eHis work is in the permanent collections of:\u003cbr\u003eBlanton Museum of Art, in Austin, Texas\u003cbr\u003eSan Antonio Museum of Art, in San Antonio, Texas\u003cbr\u003eWurth Museum, in Kunselsau, Germany\u003cbr\u003eMuseum of Art at the University of Guadalajara, Mexico \u003cbr\u003eMexican Fine Arts Center Museum in Chicago, Illinois\u003cbr\u003eNational Museum of Fine Arts in Cuba\u003cbr\u003eHouston Museum of Fine Arts\u003cbr\u003eLos Angeles County Museum of Art, California\u003cbr\u003eMuseum of Arts in Fort Lauderdale, Florida\u003cbr\u003eMuseum of the Americas, Nicaragua\u003cbr\u003ePhotographic Library of Pachuca, Mexico\u003cbr\u003eMuseum of Contemporary Arts in Los Angeles, California, among other important institutions. \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"A is A","offer_id":182704122,"sku":"1022","price":1100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/files\/WhatsAppImage2025-11-02at13.19.49_2.jpg?v=1762128101"},{"product_id":"clandestina-1","title":"Juan Sebastian Barbera - Clandestina","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cbr\u003e\n\u003cp\u003eA gorgeous etching, done in 1994, measuring 29\" x 22\" (74cm. x 56cm.). From an edition of only 75, in immaculate condition. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDescription\u003c\/p\u003e\n\u003cp\u003eThis lovely lithograph was printed by Poligrafa, in Barcelona in 1994. Printed on thick paper, from an edition of only 75 and in good condition, and unframed. MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (\u003cem\u003ecalaveras\u003c\/em\u003e) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph \u003cem\u003eEmiliano Zapata and His Horse\u003c\/em\u003e, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908\/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, \u003cem\u003eClave\u003c\/em\u003e, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBy 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n \u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Clandestina","offer_id":182714762,"sku":"3031","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/sku3031_JuanSebastianBarbera_Clandestina_copy_1.jpg?v=1456860388"},{"product_id":"compasion","title":"Juan Sebastian Barbera - Compasion","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA gorgeous etching, done in 1994, measuring 29\" x 22\" (74cm. x 56cm.). From an edition of only 75, in immaculate condition. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDescription\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis lovely lithograph was printed by Poligrafa, in Barcelona in 1994. Printed on thick paper, from an edition of only 75 and in good condition, and unframed. MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (\u003cem data-mce-fragment=\"1\"\u003ecalaveras\u003c\/em\u003e) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph \u003cem data-mce-fragment=\"1\"\u003eEmiliano Zapata and His Horse\u003c\/em\u003e, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908\/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, \u003cem data-mce-fragment=\"1\"\u003eClave\u003c\/em\u003e, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n \u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Compasion","offer_id":182717552,"sku":"3034","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/sku3034_JuanSebastianBarbera_Compasion_copy.jpg?v=1456860448"},{"product_id":"contabulacion-1","title":"Juan Sebastian Barbera - Contabulacion","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp\u003eA gorgeous etching, done in 1994, measuring 29\" x 22\" (74cm. x 56cm.). From an edition of only 75, in immaculate condition. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDescription\u003c\/p\u003e\n\u003cp\u003eThis lovely lithograph was printed by Poligrafa, in Barcelona in 1994. Printed on thick paper, from an edition of only 75 and in good condition, and unframed. MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (\u003cem\u003ecalaveras\u003c\/em\u003e) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph \u003cem\u003eEmiliano Zapata and His Horse\u003c\/em\u003e, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908\/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, \u003cem\u003eClave\u003c\/em\u003e, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBy 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cspan\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e \u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Contabulacion","offer_id":182718472,"sku":"3032","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/sku3032_JuanSebastianBarbera_Contabulacion_copy.jpg?v=1456860514"},{"product_id":"conspiracion","title":"Juan Sebastian Barbera - Conspiracion","description":"\u003cdiv id=\"product-description\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA gorgeous etching, done in 1994, measuring 29\" x 22\" (74cm. x 56cm.). From an edition of only 75, in immaculate condition. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDescription\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis lovely lithograph was printed by Poligrafa, in Barcelona in 1994. Printed on thick paper, from an edition of only 75 and in good condition, and unframed. MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (\u003cem data-mce-fragment=\"1\"\u003ecalaveras\u003c\/em\u003e) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph \u003cem data-mce-fragment=\"1\"\u003eEmiliano Zapata and His Horse\u003c\/em\u003e, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908\/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, \u003cem data-mce-fragment=\"1\"\u003eClave\u003c\/em\u003e, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Conspiracion","offer_id":182719542,"sku":"3033","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/sku3033_JuanSebastianBarbera_Conspiracion_copy_1.jpg?v=1456860477"},{"product_id":"mujer","title":"Ramon Alejandro - Mujer","description":"\u003cdiv id=\"product-description\"\u003e\n\u003ctable cellpadding=\"5\" border=\"0\" width=\"90%\" table=\"\"\u003e\n\u003ccolgroup span=\"2\" title=\"title\"\u003e\u003c\/colgroup\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003e\u003cbr\u003e\u003c\/th\u003e\n\u003cth scope=\"col\"\u003e\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDescription\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis is an outstanding lithograph by the renowned Cuban artist, Ramon Alejandro. It is a wonderful image of his protrait of femininity. Typical of his best work, he has employed tropical fruits, as an expression of sensuality. It is pencil signed and numbered from an edition of only 20. This print measures about 15\" x 12\". It was done while Alejandro was living in Paris, in 1989. We guarantee the authenticity of this print, and will offer a certificate of authenticity on our gallery letterhead.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eThis print is in mint condition, and is unframed. Alejandro lithographs, etchings and serigraphs are rare, difficult to find, and more than likely will appreciate dramatically over time. His giclees are much more common. He produces a very limited amount of work, and even less original printwork, and his work is very sought after. This print will be accompanied by the Alejandro book entitled \"Ramon Alejandro\". It was done by Art Tribu in Paris in 1999.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eMLA Gallery has the largest selection of Alejandro prints in the world. We offer a life-time trade in policy. Please inquire.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Mujer","offer_id":182737092,"sku":"1014","price":325.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Alejandro_-_Mujer_-_med_res_A.jpg?v=1456861588"},{"product_id":"adam-and-eve","title":"Ramon Alejandro - Adam and Eve","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp class=\"description\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis is an outstanding etching by the renowned Cuban artist, Ramon Alejandro. It is a wonderful image of his lighthearted portraits, within a lush tropical environment. It is pencil signed and numbered from an edition of only 30. This print measures about 15\" x 20\". It was done while Alejandro was living in Miami, in 2001. We guarantee the authenticity of this print, and will offer a certificate of authenticity on our gallery letterhead.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eThis print is in mint condition, and is unframed. Alejandro lithographs, etchings and serigraphs are rare, difficult to find, and more than likely will appreciate dramatically over time. His giclees are much more common. He produces a very limited amount of work, and even less original printwork, and his work is very sought after. This print will be accompanied by the Alejandro book entitled \"Ramon Alejandro\". It was done by Art Tribu in Paris in 1999.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eMLA Gallery has the largest selection of Alejandro prints in the world. We offer a life-time trade in policy. Please inquire.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n \u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Adam and Eve","offer_id":183474042,"sku":"1015","price":375.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Alejandro_-_etching_A.jpg?v=1456860004"},{"product_id":"oriental-smile","title":"Raul Anguiano - Oriental Smile","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis outstanding lithograph, by the late Mexican Master Raul Anguiano was done by Ocean Works Lithographs, in Newport Beach, CA, in 1982. It was a collaboration between Conrad A. Schwable, and Jeffrey Sippel, both Tamarind Master Printers. This print is absolutely gorgeous, is in mint condition, is very rare and difficult to find, and has never been framed. It is 30\" x 22\", and is from a small edition of only 20. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn 1937 Anguiano joined the Revolutionary Writers and Artists League. Together, with Alfredo Zalce and Pablo O'Higgins, he was also a founding member of thePopular Graphics Workshop, where artist practised a graphic style based on Mexico's folk traditions. This was due to the powerful influence of the recently discovered Jose Guadalupe Posada and Goya.\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRaúl Anguiano belongs to the so-called \"Third Generation\" of post-revolutionary painters, along with Juan O'Gorman, Jorge González Camarena, José Chávez Morado, Alfredo Zalce, Jesús Guerrero Galván and Julio Castellanos, all known for being unorthodox, associated in politics and in art, while at the same time, holding to certain traditional canons. Anguiano's work is viewed as an expression of its time because of its undeniably Mexican flavour, and the link to his people is clear, not only in his murals but also on canvas, etchings, pencil and ink drawings, lithographs and illustrations, and also more recently in sculpture and ceramics. Without compromising his personality or ethnic roots, and at the same time not allowing them to limit him, Anguiano has vindicated and taken advantage of the principles of modern art, giving him a universal and transcending character of his boundary work.\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnguiano held his first solo exhibition, entitled \"Raúl Anguiano and Máximo Pacheco\" at the Palace of Fine Arts in Mexico City, in 1935; and in 1940 he took part in his first collective exhibition \"Twenty Centuries of Mexican Art\". These were followed by more than 100 shows in many countries as Cuba, Chile, Colombia, Brazil, United States, France, Italy, the former Soviet Union, Israel, Germany and Japan. His most recent exhibitions include the presentation of a series of four colour lithographs, held at the Hall of Graphic Arts SAGA 88, from 1989 to 1990, in Paris; and the retrospective look at Anguiano's work in graphics (1938-1940), held at the National Print Museum in Mexico City in 1990.\u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Oriental Smile","offer_id":183475452,"sku":"3011","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/sku3011_RaulAnguiano_OrientalSmile_copy.jpg?v=1456861744"},{"product_id":"el-ultimo-viaje-del-buque-fantasma-i","title":"Wifredo Lam - El Ultimo Viaje del Buque Fantasma V","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003ctable style=\"cellspacing: 20;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eARTIST\u003c\/p\u003e\n\u003c\/th\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/mlagallery.com\/collections\/wifredo-lam\"\u003eWIFREDO LAM\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eTitle\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003e\u003cspan\u003eEl Ultimo Viaje del Buque Fantasma I\u003c\/span\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWork Date  \u003c\/td\u003e\n\u003ctd\u003e1976\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCategory\u003c\/td\u003e\n\u003ctd\u003ePrints\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eLithograph\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEdition Of\u003c\/td\u003e\n\u003ctd\u003eEdition of 99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSize\u003c\/td\u003e\n\u003ctd\u003e\n\u003cb\u003eh:\u003c\/b\u003e 22 x \u003cb\u003ew:\u003c\/b\u003e 30 in \/ \u003cb\u003eh:\u003c\/b\u003e 56 x \u003cb\u003ew:\u003c\/b\u003e 76 cm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eRegion\u003c\/td\u003e\n\u003ctd\u003eCuban\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eStyle\u003c\/td\u003e\n\u003ctd\u003eContemporary\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePrice*\u003c\/td\u003e\n\u003ctd\u003e$1,650 We offer competitive pricing\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGallery Ph.  \u003c\/td\u003e\n\u003ctd\u003e323-744-7550\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDescription\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Ultimo Viaje del Buque Fantasma suite, was done by Poligrafa, in Barcelona in 1976. It is rare, sought after, and difficult to find. These images were inspired by the writings of Gabriel Garcia Marquez, an excerpt of his writings are available \u003ca href=\"http:\/\/mlagallery.com\/blogs\/essays\/5897537-inspiration-words-that-inspired-the-work-of-wifredo-lam\"\u003ehere\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eDuring his sixty-year career (1923-1982) Lam was to pave the way for contemporary artists of African, Asian, Pacific, and Native American descent in the international art world. But the road was not always easy or straightforward. His arrival in Paris effectively precipitated the first crisis of modernism by introducing the \"primitive\" into \"primitivism.\"\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eHe confronted European modernists with a real human entity both conversant in his traditional culture and trained in modernist conventions. As an African, Chinese Cuban, however, he was quickly subsumed under those same romantic characterizations of the \"primitive,\" marginalized to an extent as an \"authentic\" specimen.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eDescriptions of his work are inevitably modified with signifiers such as \"magician,\" \"master of the fantastic,\" \"avatar of the jungle,\" and \"shaman.\" His situation as both insider and outsider is clearly illustrated in the diagram of the modern art \"tree\" published by painter Ad Reinhardt in P.M. magazine in 1946. Reinhardt grouped artists of different modernist tendencies on branches off the trunk of modern art.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eLam's name can be found near the names of artists whose work manifests a magical, surreal quality—Yves Tanguy, Pavel Tchelitchew, Kurt Seligmann, and Louis O. Guglielmi, who appear as leaves bunched together on the branch. But, tellingly, Lam is literally a leaf out on the same branch by himself.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eAs is the case with all of our Latin Master graphic work, we guarantee the authenticity of this work, and will provide a letter of authentication on our gallery letterhead.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"El Ultimo Viaje del Buque Fantasma I","offer_id":183476192,"sku":"3001","price":1650.0,"currency_code":"USD","in_stock":true},{"title":"El Ultimo Viaje del Buque Fantasma V","offer_id":50754027356458,"sku":"13450","price":1650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/files\/Lam-UltimoViajeH.jpg?v=1761752860"},{"product_id":"ultimo-viaje-del-buque-fantasma-iii","title":"Wifredo Lam - El Ultimo Viaje del Buque Fantasma III","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003ctable style=\"cellspacing: 20;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eARTIST\u003c\/p\u003e\n\u003c\/th\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/mlagallery.com\/collections\/wifredo-lam\"\u003eWIFREDO LAM\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eTitle\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003e\u003cspan\u003eEl Ultimo Viaje del Buque Fantasma I\u003c\/span\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWork Date  \u003c\/td\u003e\n\u003ctd\u003e1976\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCategory\u003c\/td\u003e\n\u003ctd\u003ePrints\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eLithograph\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEdition Of\u003c\/td\u003e\n\u003ctd\u003eEdition of 99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSize\u003c\/td\u003e\n\u003ctd\u003e\n\u003cb\u003eh:\u003c\/b\u003e 22 x \u003cb\u003ew:\u003c\/b\u003e 30 in \/ \u003cb\u003eh:\u003c\/b\u003e 56 x \u003cb\u003ew:\u003c\/b\u003e 76 cm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eRegion\u003c\/td\u003e\n\u003ctd\u003eCuban\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eStyle\u003c\/td\u003e\n\u003ctd\u003eContemporary\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePrice*\u003c\/td\u003e\n\u003ctd\u003e$1,650 We offer competitive pricing\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGallery Ph.  \u003c\/td\u003e\n\u003ctd\u003e323-744-7550\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDescription\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Ultimo Viaje del Buque Fantasma suite, was done by Poligrafa, in Barcelona in 1976. It is rare, sought after, and difficult to find. These images were inspired by the writings of Gabriel Garcia Marquez.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eDuring his sixty-year career (1923-1982) Lam was to pave the way for contemporary artists of African, Asian, Pacific, and Native American descent in the international art world. But the road was not always easy or straightforward. His arrival in Paris effectively precipitated the first crisis of modernism by introducing the \"primitive\" into \"primitivism.\"\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eHe confronted European modernists with a real human entity both conversant in his traditional culture and trained in modernist conventions. As an African, Chinese Cuban, however, he was quickly subsumed under those same romantic characterizations of the \"primitive,\" marginalized to an extent as an \"authentic\" specimen.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eDescriptions of his work are inevitably modified with signifiers such as \"magician,\" \"master of the fantastic,\" \"avatar of the jungle,\" and \"shaman.\" His situation as both insider and outsider is clearly illustrated in the diagram of the modern art \"tree\" published by painter Ad Reinhardt in P.M. magazine in 1946. Reinhardt grouped artists of different modernist tendencies on branches off the trunk of modern art.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eLam's name can be found near the names of artists whose work manifests a magical, surreal quality—Yves Tanguy, Pavel Tchelitchew, Kurt Seligmann, and Louis O. Guglielmi, who appear as leaves bunched together on the branch. But, tellingly, Lam is literally a leaf out on the same branch by himself.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eAs is the case with all of our Latin Master graphic work, we guarantee the authenticity of this work, and will provide a letter of authentication on our gallery letterhead.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"El Ultimo Viaje del Buque Fantasma III","offer_id":183477032,"sku":"3003","price":1650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/sku3003__WilfredoLam_ElUltimoViajeDelBuqueFantasmaIII_copy.jpg?v=1456860830"},{"product_id":"onyx-horses","title":"Raul Anguiano - Onyx Horses","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis outstanding lithograph, by the late Mexican Master Raul Anguiano was done by Ocean Works Lithographs, in Newport Beach, CA, in 1982. It was a collaboration between Conrad A. Schwable, and Jeffrey Sippel, both Tamarind Master Printers. This print is absolutely gorgeous, is in mint condition, is very rare and difficult to find, and has never been framed. It is 30\" x 22\", and is from a small edition. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn 1937 Anguiano joined the Revolutionary Writers and Artists League. Together, with Alfredo Zalce and Pablo O'Higgins, he was also a founding member of thePopular Graphics Workshop, where artist practised a graphic style based on Mexico's folk traditions. This was due to the powerful influence of the recently discovered Jose Guadalupe Posada and Goya.\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRaúl Anguiano belongs to the so-called \"Third Generation\" of post-revolutionary painters, along with Juan O'Gorman, Jorge González Camarena, José Chávez Morado, Alfredo Zalce, Jesús Guerrero Galván and Julio Castellanos, all known for being unorthodox, associated in politics and in art, while at the same time, holding to certain traditional canons. Anguiano's work is viewed as an expression of its time because of its undeniably Mexican flavour, and the link to his people is clear, not only in his murals but also on canvas, etchings, pencil and ink drawings, lithographs and illustrations, and also more recently in sculpture and ceramics. Without compromising his personality or ethnic roots, and at the same time not allowing them to limit him, Anguiano has vindicated and taken advantage of the principles of modern art, giving him a universal and transcending character of his boundary work.\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnguiano held his first solo exhibition, entitled \"Raúl Anguiano and Máximo Pacheco\" at the Palace of Fine Arts in Mexico City, in 1935; and in 1940 he took part in his first collective exhibition \"Twenty Centuries of Mexican Art\". These were followed by more than 100 shows in many countries as Cuba, Chile, Colombia, Brazil, United States, France, Italy, the former Soviet Union, Israel, Germany and Japan. His most recent exhibitions include the presentation of a series of four colour lithographs, held at the Hall of Graphic Arts SAGA 88, from 1989 to 1990, in Paris; and the retrospective look at Anguiano's work in graphics (1938-1940), held at the National Print Museum in Mexico City in 1990.\u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Onyx Horses","offer_id":183480212,"sku":"3014","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/sku3014_RaulAngulano_OnyxHorses_copy.jpg?v=1456861602"},{"product_id":"la-tierra-promiteda","title":"Ramon Alejandro - La Tierra Promiteda","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cbr\u003e\n\u003cp\u003eThis listing is for an outstanding lithograph by the renowned Cuban artist, Ramon Alejandro. It is a large image, featuring a sensual, surrealist landscape. It is pencil signed and numbered from an edition of only 20. This print measures about 20\" x 26\". It was done while Alejandro was living in Paris, in the late 80's. Alejandro lithographs and etchings are rare, and difficult to find. He produces a very limited amount of work, and his work is very sought after. We guarantee the authenticity of this print, and will offer a certificate of authenticity on our gallery letterhead. This print is in mint condition, and is unframed.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eAlejandro lithographs, etchings and serigraphs are rare, difficult to find, and more than likely will appreciate dramatically over time. His giclees are much more common. He produces a very limited amount of work, and even less original printwork, and his work is very sought after. This print will be accompanied by the Alejandro book entitled \"Ramon Alejandro\". It was done by Art Tribu in Paris in 1999.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eWe offer a life-time trade in policy. Please inquire. We have been in business for over 15 years, and enjoy a very good reputation. We believe in, and offer outstanding customer service. MLA Gallery has the largest selection of Alejandro prints in the world, as well as a great selection of graphics, paintings, sculptures, and drawings by contemporary Latin artists, as well as Latin Masters. Please inquire for many others.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"La Tierra Promiteda","offer_id":183717372,"sku":"2025","price":395.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Alejandro_-_La_tierra_promiteda_B.jpg?v=1562469833"},{"product_id":"waiting-for-a-sunbeam","title":"Walter Girotto - Waiting for a Sunbeam","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003eThis listing is for an outstanding serigraph by the renowned Italian artist, Walter Girotto. It is a very large print, measuring about 46.75\" x 37.75\". It is signed in white pencil, and numbered, from an edition of 195. The retail value of this print is 695 euros, on the Girotto website, and at the price we are charging this print is a steal. We guarantee the authenticity of this print, and will offer a certificate of authenticity on our gallery letterhead. This print is in mint condition, and is unframed.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eWe offer a life-time trade in policy. Please inquire. We have been in business for 20 years, and enjoy a very good feedback rating. We believe in, and offer outstanding customer service. MLA Gallery has many other paintings, as well as a large selection of paintings, graphics, sculptures, and drawings by established Latin artists, and Latin Masters. Please inquire for many others.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp\u003eAbout Walter Girotto ......\u003c\/p\u003e\n\u003cp\u003eBorn under Taurus in a small northern Italian town called Rovigo and it was May 4th when his family moved to Turin (Italy) to seek their fortune.\u2028The only things he likes to remember about his town of origin are the branches of the weeping willow in the small garden, two tin soldiers and a picture of a whale, drawn at nursery school when he was 4, under the incredulous gaze of a nun who was unaware that her admiring glance was to decide his life as a painter.\u2028In 1985, Girotto took part in his first Art-Expo in New York and, following this auspicious debut in which he sold everything within the first twenty minutes of the opening of the exhibition, he spent the rest of the show apologising for having no other works available.\u2028Gratified by that flattering debut, Girotto took part with equal fortune in the next two New York Art-Expos until, in 1987, the meeting with dealer Robert Bane led to the show at the Tamara Bane Gallery in Los Angeles in 1988 and to which, considering its success, the ones in 1989 and 1990 were the natural sequel.\u2028He faced than public opinion in a multitude of one-man exhibitions, enjoying widespread, sincere approval which often made him, as he says \" … proud and confident I had given, at least to kindred spirits, the pleasure of seeing what my soul rejoiced at imagining transformed into shapes and colours.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\"Too many exhibitions, to be mentioned but the following are among most significant:\u003c\/p\u003e\n\u003cp\u003e1980 VIOTTI GALLERY TURIN ITALY\u003c\/p\u003e\n\u003cp\u003e1983 VIOTTI GALLERY TURIN ITALY\u003c\/p\u003e\n\u003cp\u003eCENTRO CULTURALE RENOIR TARANTO ITALY\u003c\/p\u003e\n\u003cp\u003e1988 TAMARA BANE GALLERY LOS ANGELES CALIFORNIA\u003c\/p\u003e\n\u003cp\u003e\u20281989 TAMARA BANE GALLERY LOS ANGELES CALIFORNIA\u003c\/p\u003e\n\u003cp\u003e1993 TAMARA BANE GALLERY LOS ANGELES CALIFORNIA\u003c\/p\u003e\n\u003cp\u003e\u20281994 TAMARA BANE GALLERY LOS ANGELES CALIFORNIA\u003c\/p\u003e\n\u003cp\u003e\u20281995 RICHARDSON GALLERY RENO NEVADA\u003c\/p\u003e\n\u003cp\u003e1996 GALLERY HARVEST, INC. NAGOYA JAPAN\u003c\/p\u003e\n\u003cp\u003eTAMARA BANE GALLERY BEVERLY HILLS CALIFORNIA\u003c\/p\u003e\n\u003cp\u003e\u20281998 COLLECTION PRIVEÉ DE PEINTURE ET DE SCULPTURE MIAMI FLORIDA\u003c\/p\u003e\n\u003cp\u003eTAMARA BANE GALLERY BEVERLY HILLS CALIFORNIA\u003c\/p\u003e\n\u003cp\u003e2003 LAS VEGAS ART MUSEUM LAS VEGAS NEVADA\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eHis paintings have an extraordinary ability to capture the nuances of the human experience. Sometimes turbulent, and often times using erotic associations to capture the attention of the viewer, he carefully modulates the lighting using gentle shadows and striking details, always conscious of the audience. Using the purity of antique motifs, architectural elements, and varied compositions of the human anatomy, profound and poetic messages are the hallmark of his style and artistic skill. \u2028Walter Girotto exemplifies the graphic strength of his subjects utilizing both the masculine and the feminine, resulting in a deep exploration of human thought and man's place in the universe, compelling you the viewer to attempt to distinguish the obvious with the uncertain.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eArtist’s statement:\u003c\/p\u003e\n\u003cp\u003e\"I don't know what leads us to become an artist or a diplomat, a soldier or a scientist, but I know nature gives us all an equal chance at the beginning. I'm convinced wealth and poverty present no hurdle as long as we always possess our own soul wherever we are; and wherever we are, we can find a way to express the creativity when urgently yearns to emerge.It's a question of inner attitude which goes beyond the weaknesses of vanity or the perversions of pride.I've seen gifted artists living in abject poverty and in extreme luxury and I therefore feel I'm right in assuming that our fate lies simply in nature; it follows hidden paths, whether they be hostile or rewarding, which we cannot know beforehand. I had an inkling of this in the shade of my childhood willow. I received timorous confirmation in the loneliness forced on me by my introverted youth. It was not long before certainty arrived.\"\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Walter Girotto - Waiting for a Sunbeam","offer_id":190141372,"sku":"1030","price":495.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Girotto_-_Waiting_or_a_sunbeam_B_-_med_res.jpg?v=1456862499"},{"product_id":"pensive-jester","title":"Walter Girotto - Pensive Jester","description":"\u003cp\u003eArtist- Walter Girotto\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAvailable on sale for only $495.00. Limited edition Serigraph, hand signed by the artist, in gold ink. Paper Size 39” x 41”. Image size 33 3\/4” x 36”. From an edition of 250. On the artist's website, this work is priced at 650.00 Euros.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at 323-744-7550. Or to see many more works from the gallery collection, please visit our updated Artnet site at:  \u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAfter receiving a Teacher of Arts diploma from the Liceo Artistico in \u003ccity\u003e\u003cplace\u003eTurin\u003c\/place\u003e\u003c\/city\u003e in 1972,\u003cspan\u003e  \u003c\/span\u003eWalter Girotto started to paint portraits and design cartoons. Three years later he enrolled at the \u003cplace\u003e\u003cplacename\u003eBelle\u003c\/placename\u003e \u003cplacename\u003eArti\u003c\/placename\u003e \u003cplacetype\u003eAcademy\u003c\/placetype\u003e\u003c\/place\u003e and shortly thereafter, his work was exhibited on a regular basis at the Centro di arte Renoir of Taranto. Between 1985 and 1987 he attended the annual Art Expo in \u003cstate\u003e\u003cplace\u003eNew York\u003c\/place\u003e\u003c\/state\u003e. His paintings and drawings were greeted with such enthusiasm that they sold within the first hour of each show.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHis first solo exhibition was presented in \u003ccity\u003e\u003cplace\u003eLos Angeles\u003c\/place\u003e\u003c\/city\u003e in 1988.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHis paintings have an extraordinary ability to capture the nuances of the human experience. Sometimes turbulent, and often times using erotic associations to capture the attention of the viewer. He carefully modulates the lighting using gentle shadows and striking details, always conscious of the audience \"the viewer\". Using the purity of antique motifs, architectural elements, and varied compositions of the human anatomy, profound and poetic messages are the hallmark of his style and artistic skill. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e \u003cbr\u003e Walter Girotto exemplifies the graphic strength of his subjects utilizing both the masculine and the feminine, resulting in a deep exploration of human thought and man's place in the universe, compelling you the viewer to attempt to distinguish the obvious with the uncertain.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe retail value of this print is 695 euros, on the Girotto website, and at the price we are charging this print is a steal. We guarantee the authenticity of this print, and will offer a certificate of authenticity on our gallery letterhead. This print is in mint condition, and is unframed.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003eWe have been in business for 20 years, and enjoy a very good feedback rating. We believe in, and offer outstanding customer service. MLA Gallery has a great selection of prints, as well as original works, by Latin artists, as well as a few Asian artists. Please inquire for many others.\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAbout Walter Girotto ......\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn under Taurus in a small northern Italian town called Rovigo and it was May 4th when his family moved to Turin (Italy) to seek their fortune.\u2028The only things he likes to remember about his town of origin are the branches of the weeping willow in the small garden, two tin soldiers and a picture of a whale, drawn at nursery school when he was 4, under the incredulous gaze of a nun who was unaware that her admiring glance was to decide his life as a painter.\u2028In 1985, Girotto took part in his first Art-Expo in New York and, following this auspicious debut in which he sold everything within the first twenty minutes of the opening of the exhibition, he spent the rest of the show apologising for having no other works available.\u2028Gratified by that flattering debut, Girotto took part with equal fortune in the next two New York Art-Expos until, in 1987, the meeting with dealer Robert Bane led to the show at the Tamara Bane Gallery in Los Angeles in 1988 and to which, considering its success, the ones in 1989 and 1990 were the natural sequel.\u2028He faced than public opinion in a multitude of one-man exhibitions, enjoying widespread, sincere approval which often made him, as he says \" … proud and confident I had given, at least to kindred spirits, the pleasure of seeing what my soul rejoiced at imagining transformed into shapes and colours.\"\u2028Too many exhibitions, to be mentioned but the following are among most significant:\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1980 VIOTTI GALLERY TURIN ITALY\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1983 VIOTTI GALLERY TURIN ITALY\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCENTRO CULTURALE RENOIR TARANTO ITALY\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1988 TAMARA BANE GALLERY LOS ANGELES CALIFORNIA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u20281989 TAMARA BANE GALLERY LOS ANGELES CALIFORNIA\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1993 TAMARA BANE GALLERY LOS ANGELES CALIFORNIA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u20281994 TAMARA BANE GALLERY LOS ANGELES CALIFORNIA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u20281995 RICHARDSON GALLERY RENO NEVADA\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1996 GALLERY HARVEST, INC. NAGOYA JAPAN\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTAMARA BANE GALLERY BEVERLY HILLS CALIFORNIA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u20281998 COLLECTION PRIVEÉ DE PEINTURE ET DE SCULPTURE MIAMI FLORIDA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTAMARA BANE GALLERY BEVERLY HILLS CALIFORNIA\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e2003 LAS VEGAS ART MUSEUM LAS VEGAS NEVADA\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis paintings have an extraordinary ability to capture the nuances of the human experience. Sometimes turbulent, and often times using erotic associations to capture the attention of the viewer, he carefully modulates the lighting using gentle shadows and striking details, always conscious of the audience. Using the purity of antique motifs, architectural elements, and varied compositions of the human anatomy, profound and poetic messages are the hallmark of his style and artistic skill. \u2028Walter Girotto exemplifies the graphic strength of his subjects utilizing both the masculine and the feminine, resulting in a deep exploration of human thought and man's place in the universe, compelling you the viewer to attempt to distinguish the obvious with the uncertain.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist’s statement:\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"I don't know what leads us to become an artist or a diplomat, a soldier or a scientist, but I know nature gives us all an equal chance at the beginning. I'm convinced wealth and poverty present no hurdle as long as we always possess our own soul wherever we are; and wherever we are, we can find a way to express the creativity when urgently yearns to emerge.\u2028It's a question of inner attitude which goes beyond the weaknesses of vanity or the perversions of pride.\u2028I've seen gifted artists living in abject poverty and in extreme luxury and I therefore feel I'm right in assuming that our fate lies simply in nature; it follows hidden paths, whether they be hostile or rewarding, which we cannot know beforehand. I had an inkling of this in the shade of my childhood willow. I received timorous confirmation in the loneliness forced on me by my introverted youth. It was not long before certainty arrived.\"\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Walter Girotto - Pensive Jester","offer_id":190186262,"sku":"1031","price":495.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Girotto_-_Pensive_Jester.jpg?v=1456861869"},{"product_id":"woman-with-turban","title":"Raul Anguiano - Woman with Turban","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003ctable style=\"cellspacing: 20;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eARTIST\u003c\/p\u003e\n\u003c\/th\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/Artists_Detail.asp?aid=18645\u0026amp;gid=424078452\u0026amp;rta=http:\/\/www.artnet.com\"\u003eRaúl Anguiano\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eTitle\u003c\/td\u003e\n\u003ctd\u003eWoman with Turban\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWork Date\u003c\/td\u003e\n\u003ctd\u003e1981\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eThree color stone lithograph\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEdition\/Set Of  \u003c\/td\u003e\n\u003ctd\u003eThe edition size was only 20. This print is signed, and numbered by Anguiano.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eRegion\u003c\/td\u003e\n\u003ctd\u003eMexican\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eStyle\u003c\/td\u003e\n\u003ctd\u003eContemporary\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePrice*\u003c\/td\u003e\n\u003ctd\u003e$1400\u003cbr\u003eMLA Gallery offers competitive pricing, well below retail, on all of our inventory. \u003cbr\u003e   \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGallery Ph.\u003c\/td\u003e\n\u003ctd\u003e323-792-3779\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDescription\u003c\/p\u003e\n\u003cp\u003eThis outstanding lithograph, by the late Mexican Master Raul Anguiano was done by Ocean Works Lithographs, in Newport Beach, CA, in 1981. This print was handprinted by Conrad A. Schwable, a Tamarind Master Printer.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eIn 1937 Anguiano joined the Revolutionary Writers and Artists League. Together, with Alfredo Zalce and Pablo O'Higgins, he was also a founding member of thePopular Graphics Workshop, where artist practised a graphic style based on Mexico's folk traditions. This was due to the powerful influence of the recently discovered Jose Guadalupe Posada and Goya.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eRaúl Anguiano belongs to the so-called \"Third Generation\" of post-revolutionary painters, along with Juan O'Gorman, Jorge González Camarena, José Chávez Morado, Alfredo Zalce, Jesús Guerrero Galván and Julio Castellanos, all known for being unorthodox, associated in politics and in art, while at the same time, holding to certain traditional canons. Anguiano's work is viewed as an expression of its time because of its undeniably Mexican flavour, and the link to his people is clear, not only in his murals but also on canvas, etchings, pencil and ink drawings, lithographs and illustrations, and also more recently in sculpture and ceramics. Without compromising his personality or ethnic roots, and at the same time not allowing them to limit him, Anguiano has vindicated and taken advantage of the principles of modern art, giving him a universal and transcending character of his boundary work.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eAnguiano held his first solo exhibition, entitled \"Raúl Anguiano and Máximo Pacheco\" at the Palace of Fine Arts in Mexico City, in 1935; and in 1940 he took part in his first collective exhibition \"Twenty Centuries of Mexican Art\". These were followed by more than 100 shows in many countries as Cuba, Chile, Colombia, Brazil, United States, France, Italy, the former Soviet Union, Israel, Germany and Japan. His most recent exhibitions include the presentation of a series of four colour lithographs, held at the Hall of Graphic Arts SAGA 88, from 1989 to 1990, in Paris; and the retrospective look at Anguiano's work in graphics (1938-1940), held at the National Print Museum in Mexico City in 1990.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eWe offer a life-time trade in policy. Please inquire. We have been in business for 20 years, and enjoy a very good feedback rating. We believe in, and offer outstanding customer service. MLA Gallery has a large selection of paintings, graphics, sculptures, and drawings by established Latin artists, and Latin Masters. Please inquire for many others.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Woman with Turban","offer_id":207270551,"sku":"3041","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Anguiano_-_Woman_with_Turban-a.jpg?v=1456862508"},{"product_id":"barcelona-with-green","title":"Wifredo Lam - Barcelona (with green)","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003ctable style=\"cellspacing: 20;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eARTIST \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/mlagallery.com\/collections\/wifredo-lam\"\u003eWIFREDO LAM\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eTitle\u003c\/td\u003e\n\u003ctd\u003eBarcelona ( with green)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWork Date\u003c\/td\u003e\n\u003ctd\u003e1976\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCategory\u003c\/td\u003e\n\u003ctd\u003ePrints\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eLithograph\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEdition Of\u003c\/td\u003e\n\u003ctd\u003eEdition of only 19\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSize\u003c\/td\u003e\n\u003ctd\u003e\n\u003cb\u003eh:\u003c\/b\u003e 30 x \u003cb\u003ew:\u003c\/b\u003e 22 in \/ \u003cb\u003eh:\u003c\/b\u003e 76 x \u003cb\u003ew:\u003c\/b\u003e 56 cm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eRegion\u003c\/td\u003e\n\u003ctd\u003eCuban\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eStyle\u003c\/td\u003e\n\u003ctd\u003eContemporary\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePrice*\u003c\/td\u003e\n\u003ctd\u003e$2,200 \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGallery Ph.\u003c\/td\u003e\n\u003ctd\u003e323-792-3779 \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDescription\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBarcelona was done by Poligrafa, in Barcelona in 1976. It is extremely rare, sought after, and difficult to find. Only 19 of the works in this edition of 99, were done with the green ink, so this print is nearly impossible to find. This print is in mint condition and is sublime, containing a lot of the iconography that makes this Latin Master's work so compelling. We guarantee the authenticity of all our Latin Master printwork, and offer a life time trade policy. Please inquire.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eFor more info call us at (323) 792-3779, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca rel=\"noopener noreferrer\" href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Barcelona with green","offer_id":257744402,"sku":"3050","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Lam_-_Barcelona_with_green_-_med_res_12.37.23_PM_12.37.23_PM.jpg?v=1456860119"},{"product_id":"el-ultimo-viaje-del-buque-fantasma-i-1","title":"Wifredo Lam - El Ultimo Viaje del Buque Fantasma II","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003ctable style=\"cellspacing: 20;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eARTIST\u003c\/p\u003e\n\u003c\/th\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/mlagallery.com\/collections\/wifredo-lam\"\u003eWIFREDO LAM\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eTitle\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003e\u003cspan\u003eEl Ultimo Viaje del Buque Fantasma I\u003c\/span\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWork Date  \u003c\/td\u003e\n\u003ctd\u003e1976\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCategory\u003c\/td\u003e\n\u003ctd\u003ePrints\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eLithograph\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEdition Of\u003c\/td\u003e\n\u003ctd\u003eEdition of 99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSize\u003c\/td\u003e\n\u003ctd\u003e\n\u003cb\u003eh:\u003c\/b\u003e 22 x \u003cb\u003ew:\u003c\/b\u003e 30 in \/ \u003cb\u003eh:\u003c\/b\u003e 56 x \u003cb\u003ew:\u003c\/b\u003e 76 cm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eRegion\u003c\/td\u003e\n\u003ctd\u003eCuban\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eStyle\u003c\/td\u003e\n\u003ctd\u003eContemporary\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePrice*\u003c\/td\u003e\n\u003ctd\u003e$1,650 We offer competitive pricing\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGallery Ph.  \u003c\/td\u003e\n\u003ctd\u003e323-744-7550\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDescription\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Ultimo Viaje del Buque Fantasma suite, was done by Poligrafa, in Barcelona in 1976. It is rare, sought after, and difficult to find. These images were inspired by the writings of Gabriel Garcia Marquez.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eDuring his sixty-year career (1923-1982) Lam was to pave the way for contemporary artists of African, Asian, Pacific, and Native American descent in the international art world. But the road was not always easy or straightforward. His arrival in Paris effectively precipitated the first crisis of modernism by introducing the \"primitive\" into \"primitivism.\"\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eHe confronted European modernists with a real human entity both conversant in his traditional culture and trained in modernist conventions. As an African, Chinese Cuban, however, he was quickly subsumed under those same romantic characterizations of the \"primitive,\" marginalized to an extent as an \"authentic\" specimen.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eDescriptions of his work are inevitably modified with signifiers such as \"magician,\" \"master of the fantastic,\" \"avatar of the jungle,\" and \"shaman.\" His situation as both insider and outsider is clearly illustrated in the diagram of the modern art \"tree\" published by painter Ad Reinhardt in P.M. magazine in 1946. Reinhardt grouped artists of different modernist tendencies on branches off the trunk of modern art.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eLam's name can be found near the names of artists whose work manifests a magical, surreal quality—Yves Tanguy, Pavel Tchelitchew, Kurt Seligmann, and Louis O. Guglielmi, who appear as leaves bunched together on the branch. But, tellingly, Lam is literally a leaf out on the same branch by himself.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eAs is the case with all of our Latin Master graphic work, we guarantee the authenticity of this work, and will provide a letter of authentication on our gallery letterhead.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"El Ultimo Viaje del Buque Fantasma II","offer_id":289164532,"sku":"3046","price":1650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Lam_-_Ultimo_Viaje_H.jpg?v=1456860870"},{"product_id":"el-ultimo-viaje-del-buque-fantasma-iv","title":"Wifredo Lam - El Ultimo Viaje del Buque Fantasma IV","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003ctable style=\"cellspacing: 20;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eARTIST\u003c\/p\u003e\n\u003c\/th\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/mlagallery.com\/collections\/wifredo-lam\"\u003eWIFREDO LAM\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eTitle\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003e\u003cspan\u003eEl Ultimo Viaje del Buque Fantasma I\u003c\/span\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWork Date  \u003c\/td\u003e\n\u003ctd\u003e1976\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCategory\u003c\/td\u003e\n\u003ctd\u003ePrints\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eLithograph\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEdition Of\u003c\/td\u003e\n\u003ctd\u003eEdition of 99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSize\u003c\/td\u003e\n\u003ctd\u003e\n\u003cb\u003eh:\u003c\/b\u003e 22 x \u003cb\u003ew:\u003c\/b\u003e 30 in \/ \u003cb\u003eh:\u003c\/b\u003e 56 x \u003cb\u003ew:\u003c\/b\u003e 76 cm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eRegion\u003c\/td\u003e\n\u003ctd\u003eCuban\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eStyle\u003c\/td\u003e\n\u003ctd\u003eContemporary\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePrice*\u003c\/td\u003e\n\u003ctd\u003e$1,650 We offer competitive pricing\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGallery Ph.  \u003c\/td\u003e\n\u003ctd\u003e323-744-7550\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDescription\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Ultimo Viaje del Buque Fantasma suite, was done by Poligrafa, in Barcelona in 1976. It is rare, sought after, and difficult to find. These images were inspired by the writings of Gabriel Garcia Marquez, an excerpt of his writings are available \u003ca href=\"http:\/\/mlagallery.com\/blogs\/essays\/5897537-inspiration-words-that-inspired-the-work-of-wifredo-lam\"\u003ehere\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eDuring his sixty-year career (1923-1982) Lam was to pave the way for contemporary artists of African, Asian, Pacific, and Native American descent in the international art world. But the road was not always easy or straightforward. His arrival in Paris effectively precipitated the first crisis of modernism by introducing the \"primitive\" into \"primitivism.\"\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eHe confronted European modernists with a real human entity both conversant in his traditional culture and trained in modernist conventions. As an African, Chinese Cuban, however, he was quickly subsumed under those same romantic characterizations of the \"primitive,\" marginalized to an extent as an \"authentic\" specimen.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eDescriptions of his work are inevitably modified with signifiers such as \"magician,\" \"master of the fantastic,\" \"avatar of the jungle,\" and \"shaman.\" His situation as both insider and outsider is clearly illustrated in the diagram of the modern art \"tree\" published by painter Ad Reinhardt in P.M. magazine in 1946. Reinhardt grouped artists of different modernist tendencies on branches off the trunk of modern art.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eLam's name can be found near the names of artists whose work manifests a magical, surreal quality—Yves Tanguy, Pavel Tchelitchew, Kurt Seligmann, and Louis O. Guglielmi, who appear as leaves bunched together on the branch. But, tellingly, Lam is literally a leaf out on the same branch by himself.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eAs is the case with all of our Latin Master graphic work, we guarantee the authenticity of this work, and will provide a letter of authentication on our gallery letterhead.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"El Ultimo Viaje del Buque Fantasma IV","offer_id":289164966,"sku":"3047","price":1650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/IMG_1531.jpg?v=1456860820"},{"product_id":"agonia","title":"Juan Sebastian Barbera - Agonia","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003e22\" x 15\", done in 1994. An edition of only 50, in immaculate condition. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis lovely etching was printed by Poligrafa, in Barcelona in 1994. Printed on thick paper, from an edition of only 50 and in mint condition, and unframed. MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The expression of facial psychology has rarely been achieved with the detailed realism of Fors. With Renaissance precision, he shows us what cannot be photographed, the spiritual state of suffering that our faces and expressions hide, the obscure realm of sentiment, the abysses of the heart, the desperate lonliness that destroys us\"... Humberto Saldana. This exquisite etching is typical of the kind of raw power Fors infuses into his work. This print was done in Guadalajara, Mexico, where Fors currently resides. he was born in Havana, Cuba in 1958, and moved to the United States in 1960. Traveled to Mexico in 1967, living first in Guadalajara and later moving to Mexico City. In 1976 moved to Miami, Florida and studied for three years with Robert Martinez. He returned to Guadalajara where he lives today. His first single exhibition was at the Virginia Miller Galleries, Miami, Florida in 1979. He has had notable exhibitions from Miami, Florida to Washington, DC to Boston, Massachusetts to Winnipeg, Canada to Tokyo, Japan to Guadalajara, Mexico. His work is in the permanent collections of the Blanton Museum of Art, in Austin, Texas, the San Antonio Museum of Art, in San Antonio, Texas, the Wurt Museum, in Germany, the Museum of Art at the University of Guadalajara, Mexico, the Mexican Fine Arts Center Museum in Chicago, Illinois, the National Museum of Fine Arts in Cuba; the Houston Museum of Fine Arts; Los Angeles County Museum of Art, California; the Museum of Arts in Fort Lauderdale, Florida; the Museum of the Americas, Nicaragua; the Photographic Library of Pachuca, Mexico; the Museum of Contemporary Arts in Los Angeles, California, among other important institutions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (\u003cem\u003ecalaveras\u003c\/em\u003e) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph \u003cem\u003eEmiliano Zapata and His Horse\u003c\/em\u003e, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908\/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, \u003cem\u003eClave\u003c\/em\u003e, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBy 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Agonia","offer_id":315460413,"sku":"3060","price":595.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Barbera_-_Agonia_etching_-_22_x_15.jpg?v=1456860028"},{"product_id":"seduccion","title":"Juan Sebastian Barbera - Seduccion","description":"\u003cdiv id=\"product-description\"\u003e\n\u003ctable cellpadding=\"5\" border=\"0\" width=\"90%\" table=\"\"\u003e\n\u003ccolgroup span=\"2\" title=\"title\"\u003e\u003c\/colgroup\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eArtist\u003c\/p\u003e\n\u003c\/th\u003e\n\u003cth scope=\"col\"\u003e\n\u003ch1 style=\"text-align: left;\"\u003e\u003c\/h1\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJuan Sebastian Barbera\u003c\/p\u003e\n\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eTitle\u003c\/td\u003e\n\u003ctd\u003eSeduccion\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWork Date\u003c\/td\u003e\n\u003ctd\u003e1994\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCategory\u003c\/td\u003e\n\u003ctd\u003ePrints\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eEtching\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEdition of\u003c\/td\u003e\n\u003ctd\u003e50\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSize\u003c\/td\u003e\n\u003ctd\u003e\n\u003cb\u003eh:\u003c\/b\u003e 22 x \u003cb\u003ew:\u003c\/b\u003e 15 in \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eRegion\u003c\/td\u003e\n\u003ctd\u003eMexico\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eStyle\u003c\/td\u003e\n\u003ctd\u003eContemporary\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePrice*\u003c\/td\u003e\n\u003ctd\u003e$595. We offer competitive pricing\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGallery Ph.\u003c\/td\u003e\n\u003ctd\u003e323-744-7550\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDescription\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis lovely etching was printed by Poligrafa, in Barcelona in 1994. Printed on thick paper, from an edition of only 50 and in mint condition, and unframed. MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Seduccion","offer_id":315461881,"sku":"3061","price":595.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Barbera_-_Seduccion_etching_-_22_x_15_-_lo_res.jpg?v=1456862245"},{"product_id":"main-course","title":"Jose Fors - Main Course","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eA large print measuring 45\" x 34\", done in 2000. In immaculate condition. From a small edition of 75.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis is a large and exceptionally fine etching by this great artist, in very good condition. These are impossible to find. \u003c\/p\u003e\n\u003cp\u003e\"The expression of facial psychology has rarely been achieved with the detailed realism of Fors. With Renaissance precision, he shows us what cannot be photographed, the spiritual state of suffering that our faces and expressions hide, the obscure realm of sentiment, the abysses of the heart, the desperate lonliness that destroys us\"... Humberto Saldana.\u003c\/p\u003e\n\u003cp\u003eThis exquisite etching is typical of the kind of raw power Fors infuses into his work. This print was done in Guadalajara, Mexico, where Fors currently resides. \u003c\/p\u003e\n\u003cp\u003eBorn July 30, 1958 in Havana, Cuba. In 1967 his family moved to Mexico City, where he spent the last part of his childhood. He spent his adolescence in Guadalajara, Jalisco. In 1990, Carlos Avilez and José Fors founded the musical group CUCA, which performs irreverent rock and hard rock songs, forming part of one of the most recognized bands of these genres in Mexico.\u003c\/p\u003e\n\u003cp\u003eIn 2004, the University of Guadalajara published the book José Fors 25 Years, accompanied by a major retrospective exhibition at the University’s Museum of the Arts. Since 1991 he exhibits annually in his studio. With more than 63 solo exhibitions, 42 group exhibitions around the world, more than 20 recorded albums and a career of 30 years in the CUCA group, José Fors has become a benchmark of tapatío art, receiving countless awards and recognitions. Today, Fors works in Zapopan, Jalisco where he lives with his wife and son Jack.\u003c\/p\u003e\n\u003cp\u003eHis first single exhibition was at the Virginia Miller Galleries, Miami, Florida in 1979. He has had notable exhibitions from Miami, Florida to Washington, DC to Boston, Massachusetts to Winnipeg, Canada to Tokyo, Japan to Guadalajara, Mexico. \u003c\/p\u003e\n\u003cp\u003eHis work is in the permanent collections of:\u003cbr\u003eBlanton Museum of Art, in Austin, Texas\u003cbr\u003eSan Antonio Museum of Art, in San Antonio, Texas\u003cbr\u003eWurth Museum, in Kunselsau, Germany\u003cbr\u003eMuseum of Art at the University of Guadalajara, Mexico \u003cbr\u003eMexican Fine Arts Center Museum in Chicago, Illinois\u003cbr\u003eNational Museum of Fine Arts in Cuba\u003cbr\u003eHouston Museum of Fine Arts\u003cbr\u003eLos Angeles County Museum of Art, California\u003cbr\u003eMuseum of Arts in Fort Lauderdale, Florida\u003cbr\u003eMuseum of the Americas, Nicaragua\u003cbr\u003ePhotographic Library of Pachuca, Mexico\u003cbr\u003eMuseum of Contemporary Arts in Los Angeles, California, among other important institutions. \u003cbr\u003e\u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Main Course","offer_id":365417327,"sku":"1056","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/files\/WhatsAppImage2025-11-02at13.20.23.jpg?v=1762128008"},{"product_id":"vacia","title":"Jose Fors - Vacia","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003ctable style=\"cellspacing: 20;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eARTIST\u003c\/p\u003e\n\u003c\/th\u003e\n\u003cth\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/mlagallery.com\/collections\/jose-fors\"\u003eJOSE FORS\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eTitle\u003c\/td\u003e\n\u003ctd\u003eVacia\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWork Date\u003c\/td\u003e\n\u003ctd\u003e2000\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCategory\u003c\/td\u003e\n\u003ctd\u003ePrints\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eEtching\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEdition \/ Set of  \u003c\/td\u003e\n\u003ctd\u003e75\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSize\u003c\/td\u003e\n\u003ctd\u003e\n\u003cb\u003eh:\u003c\/b\u003e 45 x \u003cb\u003ew:\u003c\/b\u003e 34.5 in \/ \u003cb\u003eh:\u003c\/b\u003e 114 x \u003cb\u003ew:\u003c\/b\u003e 87 cm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eRegion\u003c\/td\u003e\n\u003ctd\u003eMexico\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eStyle\u003c\/td\u003e\n\u003ctd\u003eContemporary\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePrice*\u003c\/td\u003e\n\u003ctd\u003e$1200. We offer competitive pricing, please inquire\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGallery Ph.  \u003c\/td\u003e\n\u003ctd\u003e323-792-3779\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003eThis is a large and exceptionally fine etching by this great artist, in very good condition. These are impossible to find. \u003c\/p\u003e\n\u003cp\u003e\"The expression of facial psychology has rarely been achieved with the detailed realism of Fors. With Renaissance precision, he shows us what cannot be photographed, the spiritual state of suffering that our faces and expressions hide, the obscure realm of sentiment, the abysses of the heart, the desperate lonliness that destroys us\"... Humberto Saldana.\u003c\/p\u003e\n\u003cp\u003eThis exquisite etching is typical of the kind of raw power Fors infuses into his work. This print was done in Guadalajara, Mexico, where Fors currently resides. \u003c\/p\u003e\n\u003cp\u003eBorn July 30, 1958 in Havana, Cuba. In 1967 his family moved to Mexico City, where he spent the last part of his childhood. He spent his adolescence in Guadalajara, Jalisco. In 1990, Carlos Avilez and José Fors founded the musical group CUCA, which performs irreverent rock and hard rock songs, forming part of one of the most recognized bands of these genres in Mexico.\u003c\/p\u003e\n\u003cp\u003eIn 2004, the University of Guadalajara published the book José Fors 25 Years, accompanied by a major retrospective exhibition at the University’s Museum of the Arts. Since 1991 he exhibits annually in his studio. With more than 63 solo exhibitions, 42 group exhibitions around the world, more than 20 recorded albums and a career of 30 years in the CUCA group, José Fors has become a benchmark of tapatío art, receiving countless awards and recognitions. Today, Fors works in Zapopan, Jalisco where he lives with his wife and son Jack.\u003c\/p\u003e\n\u003cp\u003eHis first single exhibition was at the Virginia Miller Galleries, Miami, Florida in 1979. He has had notable exhibitions from Miami, Florida to Washington, DC to Boston, Massachusetts to Winnipeg, Canada to Tokyo, Japan to Guadalajara, Mexico. \u003c\/p\u003e\n\u003cp\u003eHis work is in the permanent collections of:\u003cbr\u003eBlanton Museum of Art, in Austin, Texas\u003cbr\u003eSan Antonio Museum of Art, in San Antonio, Texas\u003cbr\u003eWurth Museum, in Kunselsau, Germany\u003cbr\u003eMuseum of Art at the University of Guadalajara, Mexico \u003cbr\u003eMexican Fine Arts Center Museum in Chicago, Illinois\u003cbr\u003eNational Museum of Fine Arts in Cuba\u003cbr\u003eHouston Museum of Fine Arts\u003cbr\u003eLos Angeles County Museum of Art, California\u003cbr\u003eMuseum of Arts in Fort Lauderdale, Florida\u003cbr\u003eMuseum of the Americas, Nicaragua\u003cbr\u003ePhotographic Library of Pachuca, Mexico\u003cbr\u003eMuseum of Contemporary Arts in Los Angeles, California, among other important institutions. \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Vacia","offer_id":365417697,"sku":"1057","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/files\/WhatsAppImage2025-11-02at13.20.24_1.jpg?v=1762127708"},{"product_id":"copy-of-confusionista","title":"Juan Sebastian Barbera - Confusionista","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA gorgeous etching, done in 1994, measuring 29\" x 22\" (74cm. x 56cm.). From an edition of only 75, in immaculate condition. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDescription\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis lovely lithograph was printed by Poligrafa, in Barcelona in 1994. Printed on thick paper, from an edition of only 75 and in good condition, and unframed. MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (\u003cem data-mce-fragment=\"1\"\u003ecalaveras\u003c\/em\u003e) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph \u003cem data-mce-fragment=\"1\"\u003eEmiliano Zapata and His Horse\u003c\/em\u003e, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908\/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, \u003cem data-mce-fragment=\"1\"\u003eClave\u003c\/em\u003e, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n \u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Confusionista","offer_id":29376706576486,"sku":"3035","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Barbera-_Confusionista_-_hi_res_3146d546-af70-48a1-951b-9c768f5178ba.jpg?v=1562385707"},{"product_id":"rene-in-the-jungle-ii","title":"Rene Vasquez - Rene in the Jungle II","description":"\u003cdiv id=\"product-description\"\u003e\n\u003ctable border=\"0\" cellpadding=\"5\" width=\"90%\" table=\"\"\u003e\n\u003ccolgroup title=\"title\" span=\"2\"\u003e\u003c\/colgroup\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eArtist\u003c\/p\u003e\n\u003c\/th\u003e\n\u003cth scope=\"col\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRene Vasquez\u003c\/p\u003e\n\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eTitle\u003c\/td\u003e\n\u003ctd\u003eRene in the Jungle II\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWork Date\u003c\/td\u003e\n\u003ctd\u003e2009\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCategory\u003c\/td\u003e\n\u003ctd\u003ePaintings\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003ePastel, ink, and colored pencil on birch wood panel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSize\u003c\/td\u003e\n\u003ctd\u003e\n\u003cb\u003eh:\u003c\/b\u003e 16 x \u003cb\u003ew:\u003c\/b\u003e 12 in \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eRegion\u003c\/td\u003e\n\u003ctd\u003eAmerican\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eStyle\u003c\/td\u003e\n\u003ctd\u003eConstructivism\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePrice*\u003c\/td\u003e\n\u003ctd\u003e$900. We offer competitive pricing\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eGallery\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at 323-744-7550. Or to see many more works from the gallery collection, please visit our updated Artnet site at:  \u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDescription\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis is from a series of works on wood panels by Rene Vasquez, done in 2018. Though this artist comes from a primarily Mexican background, he was raised in Southern California. The work is very suggestive of the magical realism of a Leonora Carrington, or Remedios Varo. His work has alot of the precision, technical mastery, and conceptual brilliance displayed by both of those outstanding Latin Masters.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\"This is from a recent series of works on wood panels by Rene Vasquez. Though this artist comes from a primarily Mexican background, he was raised in Southern California. The work is very suggestive of the magical realism of a Leonora Carrington, or Remedios Varo. His work has alot of the precision, technical mastery, and conceptual brilliance displayed by both of those outstanding Latin Masters.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eThe following is a quote of Vasquez, which offers some insight into this exquisite body of work. \"I am a self-confessed narcissist, and agnostic, though I long to find God and to be less self consumed. In my work I have gone all the way from the pursuit of poetry and beauty, to the ugliness and terror wrought by the desire of man. I have come to the point where I believe there is one pervasive theme and urgency facing man, or more specifically men. That is the ongoing femenization and the effort to strip men, of his masculine role in the world.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eThese paintings depict myself as I seek the base origin of this masculine nature. I confess I am a sucker for beautiful woman, and much of history seems to stem from the pursuit of beauty and pleasure. It seems like the amount of destruction caused by this pursuit, is in direct proportion to the nature and extent of an individuals particular fetish and obsession. \u2028In my case, as I stated earlier, it is the desire to possess beauty, and to be surrounded by it. While still a youth a theory occurred to me, that in order to possess beauty, I had to mimic it.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eI have since come to realize that beauty must be a form of power. I am in the process of resolving, and working on my own deprogramming, in order to return to the source of my own being, and in order to become a more realized man. It seems to be a process of evolving past stupidity, failure, and self abuse, perhaps by developing more self control? I am born naked and bound to the earth with my eyes on the heavens and dreams of immortality. I need to be broken, of so many of my misconceptions. I need to free myself from my tangle of the undergrowth. \u2028My wife tells me I am an oaf and a chauvinist but throws herself at me in the same breath. I know I am on to something.\"\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Rene in the Jungle II","offer_id":29378828370022,"sku":"2036","price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/DSC00910.jpg?v=1562473693"},{"product_id":"mujeres-bailando-1","title":"Guillermo Ceniceros - Mujeres bailando","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\" border=\"0\" cellspacing=\"2\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003ctable width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr height=\"20\" bgcolor=\"#e5e5e5\"\u003e\n\u003ctd nowrap width=\"150\" valign=\"top\"\u003e\n\u003cp\u003e     \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e       TITLE: \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"left\" valign=\"top\"\u003e\n\u003cp\u003e     \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMujeres bailando\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003ctable width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr height=\"20\" bgcolor=\"#f5f5f5\"\u003e\n\u003ctd nowrap width=\"15\"\u003e\u003c\/td\u003e\n\u003ctd nowrap width=\"150\" valign=\"top\"\u003eARTIST: \u003c\/td\u003e\n\u003ctd align=\"left\" valign=\"top\"\u003e\n\u003ca href=\"http:\/\/www.artnet.com\/galleries\/Artists_Detail.asp?aid=424150288\u0026amp;gid=424078452\u0026amp;rta=http:\/\/www.artnet.com\"\u003eGuillermo Ceniceros\u003c\/a\u003e (Mexican, b.1939)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003ctable width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr height=\"20\" bgcolor=\"#e5e5e5\"\u003e\n\u003ctd nowrap width=\"15\"\u003e\u003c\/td\u003e\n\u003ctd nowrap width=\"150\" valign=\"top\"\u003eWORK DATE: \u003c\/td\u003e\n\u003ctd align=\"left\" valign=\"top\"\u003e1987\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003ctable width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr height=\"20\" bgcolor=\"#f5f5f5\"\u003e\n\u003ctd nowrap width=\"15\"\u003e\u003c\/td\u003e\n\u003ctd nowrap width=\"150\" valign=\"top\"\u003eCATEGORY: \u003c\/td\u003e\n\u003ctd align=\"left\" valign=\"top\"\u003ePaintings\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003ctable width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr height=\"20\" bgcolor=\"#e5e5e5\"\u003e\n\u003ctd nowrap width=\"15\"\u003e\u003c\/td\u003e\n\u003ctd nowrap width=\"150\" valign=\"top\"\u003eMATERIALS: \u003c\/td\u003e\n\u003ctd align=\"left\" valign=\"top\"\u003elithograph \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003ctable width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr height=\"20\" bgcolor=\"#f5f5f5\"\u003e\n\u003ctd nowrap width=\"15\"\u003e\u003c\/td\u003e\n\u003ctd nowrap width=\"150\" valign=\"top\"\u003eSIZE: \u003c\/td\u003e\n\u003ctd align=\"left\" valign=\"top\"\u003e\n\u003cb\u003eh:\u003c\/b\u003e 31 x \u003cb\u003ew:\u003c\/b\u003e 23 in \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003ctable width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr height=\"20\" bgcolor=\"#e5e5e5\"\u003e\n\u003ctd nowrap width=\"15\"\u003e\u003c\/td\u003e\n\u003ctd nowrap width=\"150\" valign=\"top\"\u003eSTYLE: \u003c\/td\u003e\n\u003ctd align=\"left\" valign=\"top\"\u003eContemporary\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003ctable width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr height=\"20\" bgcolor=\"#f5f5f5\"\u003e\n\u003ctd nowrap width=\"15\"\u003e\u003c\/td\u003e\n\u003ctd nowrap width=\"150\" valign=\"top\"\u003ePRICE*: \u003c\/td\u003e\n\u003ctd align=\"left\" valign=\"top\"\u003e$975\u003cbr\u003e MLA Gallery offers competitive pricing, well below retail, on all of our inventory.   \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003ctable width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr height=\"20\" bgcolor=\"#e5e5e5\"\u003e\n\u003ctd nowrap width=\"15\"\u003e\u003c\/td\u003e\n\u003ctd nowrap width=\"150\" valign=\"top\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eGALLERY: \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"left\" valign=\"top\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at 323-744-7550. Or to see many more works from the gallery collection, please visit our updated Artnet site at:  \u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003ctable width=\"100%\" border=\"0\" cellspacing=\"0\" cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr height=\"20\" bgcolor=\"#f5f5f5\"\u003e\n\u003ctd nowrap width=\"15\"\u003e\u003c\/td\u003e\n\u003ctd nowrap width=\"150\" valign=\"top\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDESCRIPTION: \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"left\" valign=\"top\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis is an outstanding lithograph, from the 1980's. It is on a thick, hand crafted paper, and is gorgeous.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eCeniceros is a very well established Mexican artist, having participated in over 200 solo and group shows around the world. He was the foremost apprentice of the Mexican Master David Siqueiros, and was his assistant, while he was executing many of his great murals.\u003c\/p\u003e\n\u003cp\u003eHe began exhibiting in 1956, at the age of 16. This outstanding artist not only has a museum in Durango, Mexico devoted entirely to his work, but he has work in the permanent collection of the following institutions:\u003c\/p\u003e\n\u003cp\u003eMexican National Institute of Social Health\u003cbr\u003e Government of the State of Nuevo Leon, Mexico\u003cbr\u003e Technological Institute of Superior Studies, Mexico\u003cbr\u003e Autonomous University of Mexico, Mexico City\u003cbr\u003e University of Nuevo Leon, Mexico\u003cbr\u003e University of Guanajato, Mexico\u003cbr\u003e El Quijote Museum, Guanajato Mexico\u003cbr\u003e Contemporary Art Museum, UNAM, Mexico City\u003cbr\u003e Guayasamin Museum, Quito Ecuador\u003cbr\u003e Museum of Contemporary Art, Morelia, Mexico\u003cbr\u003e Museum of Modern Art, Mexico City, Mexico\u003cbr\u003e Art Museum of Patzcuaro, Mexico\u003cbr\u003e Art Museum of Cuitzeo, Mexico\u003cbr\u003e Art Museum of Queretaro, Mexico\u003cbr\u003e Jose Luis Cuevas Museum, Mexico City Mexico\u003cbr\u003e Modern Art Center, Guadalajara, Mexico\u003cbr\u003e National Museum of Art in La Habana, Cuba\u003cbr\u003e National Museum of Fine Arts, Santiago De Chile, Chile\u003cbr\u003e Prilep Museum, Macedonia, Yugoslavia\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (\u003cem\u003ecalaveras\u003c\/em\u003e) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph \u003cem\u003eEmiliano Zapata and His Horse\u003c\/em\u003e, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908\/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, \u003cem\u003eClave\u003c\/em\u003e, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBy 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Mujeres bailando","offer_id":29537882964070,"sku":"8042","price":1250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/IMG_2779.JPG?v=1567480677"},{"product_id":"leonardo-nierman-lithograph-ii","title":"Leonardo Nierman \"Bach\" from the Sound of Color portfolio","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cmeta charset=\"UTF-8\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis is a gorgeous lithograph by famed Mexican artist, and measures around 30\" x 22\" (76 x 56cm). Printed in 1976, by Faquet-Baudier, Paris, and published by Lublin Graphics, CT. From the Sound of Color portfolio. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eLeonardo Nierman's paintings vibrantly come to life as they capture the intensity and spontaneity of the dynamic forces that rule both nature and the cosmos. With swirling whirlpools of color, darting flame-like wisps, and brilliant hues as dazzling as a sun, they are dramatic in their representation of that which is unchallenged, though perhaps not quite understood.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBorn in Mexico City in 1932, Mr. Nierman showed great enthusiasm in the arts even as a young child. In 1951, he received his Bachelor degree in Physics and Mathematics at the University of Mexico. He later made studies of the Psychology of Color and the Harmony of Form in Space. His full career includes numerous distinctions, awards, and exhibitions. He has painted murals for the School of Commerce of the University City in Mexico,1956; the \"Golden West Savings\" in San Francisco, 1965; and the Princeton University Physics Building,1969. Mr.Nierman's more recent One-Man shows include those at the Museum of Modern Art in Mexico City in 1972; and in 1973, the Museum of Contemporary Art in Bogota, Columbia, the Los Angeles Municipal Gallery, the Wally F. Galleries in New York, the Museum of Contemporary Arts in Madrid, and the Tucson Art Center. Some group shows include exhibitions at Waddington Galleries in Montreal, 1968; Museo de Arte Moderno in Mexico City, 1968; Lowe Art Museum of the University of Miami, 1969; OEA Pavilion-Hemis Fair '68 in San Antonio, Texas, 1968; and the Caroll Reece Museum in Tennessee, 1969. Among the several museums and galleries that have permanent collections of his works are: the Museum of Modern Art and the Institute of Fine Arts in Mexico, the Museum of Modern Art in Halfa, Israel, the Museum of Fine Arts in Boston, the Gallery of Modern Art in New York, the El Paso Museum of Art, the Pan American Union in Washington, D.C., the Museo de Ponce in Puerto Rico, the Santa Barbara Museum in California, the Vatican Museum, the Detroit Institute of Arts, the Bogota Museum of Contemporary Art, the Academy of Fine Arts in Honolulu,and the Museum of Contemporary Arts in Madrid. His numerous awards include: an Honorary Degree from the University of Mexico in 1960, a prize in a contest of Mexican Contemporary Art, sponsored by the Art Institute of Mexico, in 1964, an award of the Palme D'Or des Beaux Arts of Monaco in 1969, the Silver Medal in 1970 and the Gold Medal in 1972 from the Foundation \"Tomasso Campanella\" in Italy, and the award of the Royce Medal in New York in 1970. In addition, he has been a Life Fellow of \"the Royal Society of the Arts\" in London since 1965.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Default Title","offer_id":39250800541798,"sku":"8392","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/4E0BCB3E-2C1D-46DE-B3BB-F83FCE145877_1_105_c.jpg?v=1614485651"},{"product_id":"leonardo-nierman-lithograph-iii","title":"Leonardo Nierman lithograph Mozart from the Sound of Color portfolio","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis is a gorgeous lithograph by famed Mexican artist, Nierman, is from his musical series, and measures around 30\" x 22\" (76 x 56cm). This print is \"Mozart\" from the Sound of Color portfolio. Printed in 1976, by Faquet-Baudier, Paris, and published by Lublin Graphics, CT. From the Sound of Color portfolio. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eLeonardo Nierman's paintings vibrantly come to life as they capture the intensity and spontaneity of the dynamic forces that rule both nature and the cosmos. With swirling whirlpools of color, darting flame-like wisps, and brilliant hues as dazzling as a sun, they are dramatic in their representation of that which is unchallenged, though perhaps not quite understood. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBorn in Mexico City in 1932, Mr. Nierman showed great enthusiasm in the arts even as a young child. In 1951, he received his Bachelor degree in Physics and Mathematics at the University of Mexico. He later made studies of the Psychology of Color and the Harmony of Form in Space. His full career includes numerous distinctions, awards, and exhibitions. He has painted murals for the School of Commerce of the University City in Mexico,1956; the \"Golden West Savings\" in San Francisco, 1965; and the Princeton University Physics Building,1969. Mr.Nierman's more recent One-Man shows include those at the Museum of Modern Art in Mexico City in 1972; and in 1973, the Museum of Contemporary Art in Bogota, Columbia, the Los Angeles Municipal Gallery, the Wally F. Galleries in New York, the Museum of Contemporary Arts in Madrid, and the Tucson Art Center. Some group shows include exhibitions at Waddington Galleries in Montreal, 1968; Museo de Arte Moderno in Mexico City, 1968; Lowe Art Museum of the University of Miami, 1969; OEA Pavilion-Hemis Fair '68 in San Antonio, Texas, 1968; and the Caroll Reece Museum in Tennessee, 1969. Among the several museums and galleries that have permanent collections of his works are: the Museum of Modern Art and the Institute of Fine Arts in Mexico, the Museum of Modern Art in Halfa, Israel, the Museum of Fine Arts in Boston, the Gallery of Modern Art in New York, the El Paso Museum of Art, the Pan American Union in Washington, D.C., the Museo de Ponce in Puerto Rico, the Santa Barbara Museum in California, the Vatican Museum, the Detroit Institute of Arts, the Bogota Museum of Contemporary Art, the Academy of Fine Arts in Honolulu,and the Museum of Contemporary Arts in Madrid. His numerous awards include: an Honorary Degree from the University of Mexico in 1960, a prize in a contest of Mexican Contemporary Art, sponsored by the Art Institute of Mexico, in 1964, an award of the Palme D'Or des Beaux Arts of Monaco in 1969, the Silver Medal in 1970 and the Gold Medal in 1972 from the Foundation \"Tomasso Campanella\" in Italy, and the award of the Royce Medal in New York in 1970. In addition, he has been a Life Fellow of \"the Royal Society of the Arts\" in London since 1965.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Default Title","offer_id":39250800574566,"sku":"8395","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/IMG_2310.jpg?v=1614485885"},{"product_id":"gustavo-munroy-from-the-corpus-portfolio-image-a","title":"Gustavo Munroy and Diego Marcial Rios - from the \"Corpus\" portfolio - image A","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis work was published by The \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eArmory Center for the Arts, \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e which is a non-profit\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e community arts organization that offers arts education programs and contemporary art exhibitions in Pasadena, CA. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt originated as the education department of the Pasadena Art Museum,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in 1947. After the museum closed in 1974 (and became the Norton Simon Museum\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e), the education program became known as the Pasadena Art Workshops. The workshops in collaboration with the Baxter Art Gallery \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ebecame the Armory Center for the Arts in 1989.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThese amazing woodcuts were done by Gustavo Munroy and Diego Marcial Rios, in 1992. They are approximately 28\" x 20\". Each is signed, and numbered from an edition of 35\/65.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGustavo Monroy born 1959\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEstudió en la Escuela Nacional de Pintura Escultura y Grabado La Esmeralda. Desde mediados de los años 80 su obra ha sobresalido a nivel nacional e internacional. Actualmente forma parte del acervo de importantes museos y colecciones especializadas en México y Estados Unidos, como el Museo de Arte Moderno de la ciudad de México, el Museo de Arte Contemporáneo de Aguascalientes, el Museo Nacional de la Estampa, el Instituto Nacional de Bellas Artes, el Museo Universitario de Ciencias y Artes de la UNAM y el Museo de Arte Contemporáneo Alvar T. de Carrillo Gil, en México; el Museum of Art-University of Arizona y el Latin American Art Museum en Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePintor, grabador y dibujante, participa activamente en el desarrollo de la vida cultural de su país. Ha obtenido diversos reconocimientos, entre los que destaca el Premio de Pintura de la IX Bienal Rufino Tamayo. Ha sido miembro del Sistema Nacional de Creadores y ha participado como jurado en diversos concursos nacionales como la XII Bienal Rufino Tamayo y recientemente la IX Bienal Alfredo Zalce 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe studied at the National School of sculpture painting and engraving La Esmeralda. Since the mid-80s his work has excelled nationally and internationally. It is currently part of the collection of important museums and specialized collections in Mexico and the United States, such as the Museum of Modern Art of Mexico City, The Museum of Contemporary Art of Aguascalientes, the National Museum of the print, the National Institute of Fine Arts, the University Museum of Sciences and Arts of the UNAM and the Museum of Contemporary Art Alvar T.; the Museum of Art-University of Arizona and the Museum of Latin American Art in Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePainter, engraver and draftsman, he is actively involved in the development of the cultural life of his country. He has obtained several awards, among which the painting prize of the IX Rufino Tamayo biennial, stands out. He has been a member of the National System of creators and has participated as a jury in various national competitions such as the XII Rufino Tamayo Biennial and recently the IX Alfredo Zalce biennial 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDiego Marcial Rios bio\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAncient myths and legends intermingle with today's issues to inspire  the intricate art of Diego Marcial Rios. He creates explosions of color and texture in paintings, masks, woodcuts, and book illustrations. Inspired by Latin history including Aztec and Mayan symbols, Rios celebrates life, explores death, and confronts social and economic justice relevant today. His fanciful and provocative style is honored worldwide in museums including San Francisco’s Legion of Honor. Rios works daily on new creations. After three decades, he continues to be a low profile but highly respected treasure in the art world.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios' paintings, woodcuts, and masks have been included in more than 500 exhibitions in the USA, Asia, and Europe. His dynamic work is featured in a number of Museum Collections including the Laguna Beach Museum, Laguna Beach, CA.; Museo National De La Estampa, Mexico City, Mexico, and in public collections including the San Francisco Mission Cultural Center, C; Harriet Taubman Gallery, MD; and the Irish Arts Council, Belfast, Ireland.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios conducts an ongoing series of very popular workshops including Sacred Heart\/ Mask-Making in the Mexican Tradition in Berkeley, CA, and  Mask-Making for Carnival in San Francisco, CA. In addition, Rios is an engaging and motivating speaker, and he welcomes opportunities to share his passion for creative expression with all audiences, from curious youth to imaginative adults. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“There is something dramatic about black and white. The black\/white woodcut media is an excellent media to express complex political and social beliefs. Woodcut or relief images consist of powerful black and white images with limited lines and grays areas. The results are striking!”\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"from the \"Corpus\" portfolio - image A","offer_id":39250881282150,"sku":"8400","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/09D1E73F-33D6-4953-B4F1-EAF872BDB022_1_105_c.jpg?v=1614496422"},{"product_id":"gustavo-munroy-and-diego-marcial-rios-from-the-corpus-portfolio-image-b","title":"Gustavo Munroy and Diego Marcial Rios - from the \"Corpus\" portfolio - image B","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis work was published by The \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eArmory Center for the Arts, \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e which is a non-profit\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e community arts organization that offers arts education programs and contemporary art exhibitions in Pasadena, CA. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt originated as the education department of the Pasadena Art Museum,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in 1947. After the museum closed in 1974 (and became the Norton Simon Museum\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e), the education program became known as the Pasadena Art Workshops. The workshops in collaboration with the Baxter Art Gallery \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ebecame the Armory Center for the Arts in 1989.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThese amazing woodcuts were done by Gustavo Munroy and Diego Marcial Rios, in 1992. They are approximately 28\" x 20\". Each is signed, and numbered from an edition of 35\/65.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGustavo Monroy born 1959\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEstudió en la Escuela Nacional de Pintura Escultura y Grabado La Esmeralda. Desde mediados de los años 80 su obra ha sobresalido a nivel nacional e internacional. Actualmente forma parte del acervo de importantes museos y colecciones especializadas en México y Estados Unidos, como el Museo de Arte Moderno de la ciudad de México, el Museo de Arte Contemporáneo de Aguascalientes, el Museo Nacional de la Estampa, el Instituto Nacional de Bellas Artes, el Museo Universitario de Ciencias y Artes de la UNAM y el Museo de Arte Contemporáneo Alvar T. de Carrillo Gil, en México; el Museum of Art-University of Arizona y el Latin American Art Museum en Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePintor, grabador y dibujante, participa activamente en el desarrollo de la vida cultural de su país. Ha obtenido diversos reconocimientos, entre los que destaca el Premio de Pintura de la IX Bienal Rufino Tamayo. Ha sido miembro del Sistema Nacional de Creadores y ha participado como jurado en diversos concursos nacionales como la XII Bienal Rufino Tamayo y recientemente la IX Bienal Alfredo Zalce 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe studied at the National School of sculpture painting and engraving La Esmeralda. Since the mid-80s his work has excelled nationally and internationally. It is currently part of the collection of important museums and specialized collections in Mexico and the United States, such as the Museum of Modern Art of Mexico City, The Museum of Contemporary Art of Aguascalientes, the National Museum of the print, the National Institute of Fine Arts, the University Museum of Sciences and Arts of the UNAM and the Museum of Contemporary Art Alvar T.; the Museum of Art-University of Arizona and the Museum of Latin American Art in Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePainter, engraver and draftsman, he is actively involved in the development of the cultural life of his country. He has obtained several awards, among which the painting prize of the IX Rufino Tamayo biennial, stands out. He has been a member of the National System of creators and has participated as a jury in various national competitions such as the XII Rufino Tamayo Biennial and recently the IX Alfredo Zalce biennial 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDiego Marcial Rios bio\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAncient myths and legends intermingle with today's issues to inspire  the intricate art of Diego Marcial Rios. He creates explosions of color and texture in paintings, masks, woodcuts, and book illustrations. Inspired by Latin history including Aztec and Mayan symbols, Rios celebrates life, explores death, and confronts social and economic justice relevant today. His fanciful and provocative style is honored worldwide in museums including San Francisco’s Legion of Honor. Rios works daily on new creations. After three decades, he continues to be a low profile but highly respected treasure in the art world.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios' paintings, woodcuts, and masks have been included in more than 500 exhibitions in the USA, Asia, and Europe. His dynamic work is featured in a number of Museum Collections including the Laguna Beach Museum, Laguna Beach, CA.; Museo National De La Estampa, Mexico City, Mexico, and in public collections including the San Francisco Mission Cultural Center, C; Harriet Taubman Gallery, MD; and the Irish Arts Council, Belfast, Ireland.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios conducts an ongoing series of very popular workshops including Sacred Heart\/ Mask-Making in the Mexican Tradition in Berkeley, CA, and  Mask-Making for Carnival in San Francisco, CA. In addition, Rios is an engaging and motivating speaker, and he welcomes opportunities to share his passion for creative expression with all audiences, from curious youth to imaginative adults. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“There is something dramatic about black and white. The black\/white woodcut media is an excellent media to express complex political and social beliefs. Woodcut or relief images consist of powerful black and white images with limited lines and grays areas. The results are striking!”\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"from the \"Corpus\" portfolio - image B","offer_id":39250882101350,"sku":"8401","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/17CC05A8-3061-42BA-A17B-E6D28201E559_1_105_c.jpg?v=1614496608"},{"product_id":"gustavo-munroy-and-diego-marcial-rios-from-the-corpus-portfolio-image-c","title":"Gustavo Munroy and Diego Marcial Rios - from the \"Corpus\" portfolio - image C","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis work was published by The \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eArmory Center for the Arts, \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e which is a non-profit\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e community arts organization that offers arts education programs and contemporary art exhibitions in Pasadena, CA. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt originated as the education department of the Pasadena Art Museum,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in 1947. After the museum closed in 1974 (and became the Norton Simon Museum\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e), the education program became known as the Pasadena Art Workshops. The workshops in collaboration with the Baxter Art Gallery \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ebecame the Armory Center for the Arts in 1989.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThese amazing woodcuts were done by Gustavo Munroy and Diego Marcial Rios, in 1992. They are approximately 28\" x 20\". Each is signed, and numbered from an edition of 35\/65.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGustavo Monroy born 1959\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEstudió en la Escuela Nacional de Pintura Escultura y Grabado La Esmeralda. Desde mediados de los años 80 su obra ha sobresalido a nivel nacional e internacional. Actualmente forma parte del acervo de importantes museos y colecciones especializadas en México y Estados Unidos, como el Museo de Arte Moderno de la ciudad de México, el Museo de Arte Contemporáneo de Aguascalientes, el Museo Nacional de la Estampa, el Instituto Nacional de Bellas Artes, el Museo Universitario de Ciencias y Artes de la UNAM y el Museo de Arte Contemporáneo Alvar T. de Carrillo Gil, en México; el Museum of Art-University of Arizona y el Latin American Art Museum en Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePintor, grabador y dibujante, participa activamente en el desarrollo de la vida cultural de su país. Ha obtenido diversos reconocimientos, entre los que destaca el Premio de Pintura de la IX Bienal Rufino Tamayo. Ha sido miembro del Sistema Nacional de Creadores y ha participado como jurado en diversos concursos nacionales como la XII Bienal Rufino Tamayo y recientemente la IX Bienal Alfredo Zalce 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe studied at the National School of sculpture painting and engraving La Esmeralda. Since the mid-80s his work has excelled nationally and internationally. It is currently part of the collection of important museums and specialized collections in Mexico and the United States, such as the Museum of Modern Art of Mexico City, The Museum of Contemporary Art of Aguascalientes, the National Museum of the print, the National Institute of Fine Arts, the University Museum of Sciences and Arts of the UNAM and the Museum of Contemporary Art Alvar T.; the Museum of Art-University of Arizona and the Museum of Latin American Art in Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePainter, engraver and draftsman, he is actively involved in the development of the cultural life of his country. He has obtained several awards, among which the painting prize of the IX Rufino Tamayo biennial, stands out. He has been a member of the National System of creators and has participated as a jury in various national competitions such as the XII Rufino Tamayo Biennial and recently the IX Alfredo Zalce biennial 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDiego Marcial Rios bio\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAncient myths and legends intermingle with today's issues to inspire  the intricate art of Diego Marcial Rios. He creates explosions of color and texture in paintings, masks, woodcuts, and book illustrations. Inspired by Latin history including Aztec and Mayan symbols, Rios celebrates life, explores death, and confronts social and economic justice relevant today. His fanciful and provocative style is honored worldwide in museums including San Francisco’s Legion of Honor. Rios works daily on new creations. After three decades, he continues to be a low profile but highly respected treasure in the art world.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios' paintings, woodcuts, and masks have been included in more than 500 exhibitions in the USA, Asia, and Europe. His dynamic work is featured in a number of Museum Collections including the Laguna Beach Museum, Laguna Beach, CA.; Museo National De La Estampa, Mexico City, Mexico, and in public collections including the San Francisco Mission Cultural Center, C; Harriet Taubman Gallery, MD; and the Irish Arts Council, Belfast, Ireland.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios conducts an ongoing series of very popular workshops including Sacred Heart\/ Mask-Making in the Mexican Tradition in Berkeley, CA, and  Mask-Making for Carnival in San Francisco, CA. In addition, Rios is an engaging and motivating speaker, and he welcomes opportunities to share his passion for creative expression with all audiences, from curious youth to imaginative adults. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“There is something dramatic about black and white. The black\/white woodcut media is an excellent media to express complex political and social beliefs. Woodcut or relief images consist of powerful black and white images with limited lines and grays areas. The results are striking!”\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"from the \"Corpus\" portfolio - image C","offer_id":39250882134118,"sku":"8402","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/49E258CD-9597-4D56-B6AE-4562B4C9633F_1_105_c.jpg?v=1614496662"},{"product_id":"gustavo-munroy-and-diego-marcial-rios-from-the-corpus-portfolio-image-d","title":"Gustavo Munroy and Diego Marcial Rios - from the \"Corpus\" portfolio - image D","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis work was published by The \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eArmory Center for the Arts, \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e which is a non-profit\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e community arts organization that offers arts education programs and contemporary art exhibitions in Pasadena, CA. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt originated as the education department of the Pasadena Art Museum,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in 1947. After the museum closed in 1974 (and became the Norton Simon Museum\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e), the education program became known as the Pasadena Art Workshops. The workshops in collaboration with the Baxter Art Gallery \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ebecame the Armory Center for the Arts in 1989.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThese amazing woodcuts were done by Gustavo Munroy and Diego Marcial Rios, in 1992. They are approximately 28\" x 20\". Each is signed, and numbered from an edition of 35\/65.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGustavo Monroy born 1959\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEstudió en la Escuela Nacional de Pintura Escultura y Grabado La Esmeralda. Desde mediados de los años 80 su obra ha sobresalido a nivel nacional e internacional. Actualmente forma parte del acervo de importantes museos y colecciones especializadas en México y Estados Unidos, como el Museo de Arte Moderno de la ciudad de México, el Museo de Arte Contemporáneo de Aguascalientes, el Museo Nacional de la Estampa, el Instituto Nacional de Bellas Artes, el Museo Universitario de Ciencias y Artes de la UNAM y el Museo de Arte Contemporáneo Alvar T. de Carrillo Gil, en México; el Museum of Art-University of Arizona y el Latin American Art Museum en Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePintor, grabador y dibujante, participa activamente en el desarrollo de la vida cultural de su país. Ha obtenido diversos reconocimientos, entre los que destaca el Premio de Pintura de la IX Bienal Rufino Tamayo. Ha sido miembro del Sistema Nacional de Creadores y ha participado como jurado en diversos concursos nacionales como la XII Bienal Rufino Tamayo y recientemente la IX Bienal Alfredo Zalce 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe studied at the National School of sculpture painting and engraving La Esmeralda. Since the mid-80s his work has excelled nationally and internationally. It is currently part of the collection of important museums and specialized collections in Mexico and the United States, such as the Museum of Modern Art of Mexico City, The Museum of Contemporary Art of Aguascalientes, the National Museum of the print, the National Institute of Fine Arts, the University Museum of Sciences and Arts of the UNAM and the Museum of Contemporary Art Alvar T.; the Museum of Art-University of Arizona and the Museum of Latin American Art in Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePainter, engraver and draftsman, he is actively involved in the development of the cultural life of his country. He has obtained several awards, among which the painting prize of the IX Rufino Tamayo biennial, stands out. He has been a member of the National System of creators and has participated as a jury in various national competitions such as the XII Rufino Tamayo Biennial and recently the IX Alfredo Zalce biennial 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDiego Marcial Rios bio\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAncient myths and legends intermingle with today's issues to inspire  the intricate art of Diego Marcial Rios. He creates explosions of color and texture in paintings, masks, woodcuts, and book illustrations. Inspired by Latin history including Aztec and Mayan symbols, Rios celebrates life, explores death, and confronts social and economic justice relevant today. His fanciful and provocative style is honored worldwide in museums including San Francisco’s Legion of Honor. Rios works daily on new creations. After three decades, he continues to be a low profile but highly respected treasure in the art world.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios' paintings, woodcuts, and masks have been included in more than 500 exhibitions in the USA, Asia, and Europe. His dynamic work is featured in a number of Museum Collections including the Laguna Beach Museum, Laguna Beach, CA.; Museo National De La Estampa, Mexico City, Mexico, and in public collections including the San Francisco Mission Cultural Center, C; Harriet Taubman Gallery, MD; and the Irish Arts Council, Belfast, Ireland.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios conducts an ongoing series of very popular workshops including Sacred Heart\/ Mask-Making in the Mexican Tradition in Berkeley, CA, and  Mask-Making for Carnival in San Francisco, CA. In addition, Rios is an engaging and motivating speaker, and he welcomes opportunities to share his passion for creative expression with all audiences, from curious youth to imaginative adults. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“There is something dramatic about black and white. The black\/white woodcut media is an excellent media to express complex political and social beliefs. Woodcut or relief images consist of powerful black and white images with limited lines and grays areas. The results are striking!”\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"from the \"Corpus\" portfolio - image D","offer_id":39250882166886,"sku":"8403","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/683381DA-BB15-4C8A-ADF0-1DAFD44F6008_1_105_c.jpg?v=1614496711"},{"product_id":"gustavo-munroy-and-diego-marcial-rios-from-the-corpus-portfolio-image-e","title":"Gustavo Munroy and Diego Marcial Rios - from the \"Corpus\" portfolio - image E","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis work was published by The \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eArmory Center for the Arts, \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e which is a non-profit\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e community arts organization that offers arts education programs and contemporary art exhibitions in Pasadena, CA. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt originated as the education department of the Pasadena Art Museum,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in 1947. After the museum closed in 1974 (and became the Norton Simon Museum\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e), the education program became known as the Pasadena Art Workshops. The workshops in collaboration with the Baxter Art Gallery \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ebecame the Armory Center for the Arts in 1989.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThese amazing woodcuts were done by Gustavo Munroy and Diego Marcial Rios, in 1992. They are approximately 28\" x 20\". Each is signed, and numbered from an edition of 35\/65.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGustavo Monroy born 1959\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEstudió en la Escuela Nacional de Pintura Escultura y Grabado La Esmeralda. Desde mediados de los años 80 su obra ha sobresalido a nivel nacional e internacional. Actualmente forma parte del acervo de importantes museos y colecciones especializadas en México y Estados Unidos, como el Museo de Arte Moderno de la ciudad de México, el Museo de Arte Contemporáneo de Aguascalientes, el Museo Nacional de la Estampa, el Instituto Nacional de Bellas Artes, el Museo Universitario de Ciencias y Artes de la UNAM y el Museo de Arte Contemporáneo Alvar T. de Carrillo Gil, en México; el Museum of Art-University of Arizona y el Latin American Art Museum en Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePintor, grabador y dibujante, participa activamente en el desarrollo de la vida cultural de su país. Ha obtenido diversos reconocimientos, entre los que destaca el Premio de Pintura de la IX Bienal Rufino Tamayo. Ha sido miembro del Sistema Nacional de Creadores y ha participado como jurado en diversos concursos nacionales como la XII Bienal Rufino Tamayo y recientemente la IX Bienal Alfredo Zalce 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe studied at the National School of sculpture painting and engraving La Esmeralda. Since the mid-80s his work has excelled nationally and internationally. It is currently part of the collection of important museums and specialized collections in Mexico and the United States, such as the Museum of Modern Art of Mexico City, The Museum of Contemporary Art of Aguascalientes, the National Museum of the print, the National Institute of Fine Arts, the University Museum of Sciences and Arts of the UNAM and the Museum of Contemporary Art Alvar T.; the Museum of Art-University of Arizona and the Museum of Latin American Art in Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePainter, engraver and draftsman, he is actively involved in the development of the cultural life of his country. He has obtained several awards, among which the painting prize of the IX Rufino Tamayo biennial, stands out. He has been a member of the National System of creators and has participated as a jury in various national competitions such as the XII Rufino Tamayo Biennial and recently the IX Alfredo Zalce biennial 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDiego Marcial Rios bio\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAncient myths and legends intermingle with today's issues to inspire  the intricate art of Diego Marcial Rios. He creates explosions of color and texture in paintings, masks, woodcuts, and book illustrations. Inspired by Latin history including Aztec and Mayan symbols, Rios celebrates life, explores death, and confronts social and economic justice relevant today. His fanciful and provocative style is honored worldwide in museums including San Francisco’s Legion of Honor. Rios works daily on new creations. After three decades, he continues to be a low profile but highly respected treasure in the art world.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios' paintings, woodcuts, and masks have been included in more than 500 exhibitions in the USA, Asia, and Europe. His dynamic work is featured in a number of Museum Collections including the Laguna Beach Museum, Laguna Beach, CA.; Museo National De La Estampa, Mexico City, Mexico, and in public collections including the San Francisco Mission Cultural Center, C; Harriet Taubman Gallery, MD; and the Irish Arts Council, Belfast, Ireland.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios conducts an ongoing series of very popular workshops including Sacred Heart\/ Mask-Making in the Mexican Tradition in Berkeley, CA, and  Mask-Making for Carnival in San Francisco, CA. In addition, Rios is an engaging and motivating speaker, and he welcomes opportunities to share his passion for creative expression with all audiences, from curious youth to imaginative adults. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“There is something dramatic about black and white. The black\/white woodcut media is an excellent media to express complex political and social beliefs. Woodcut or relief images consist of powerful black and white images with limited lines and grays areas. The results are striking!”\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"from the \"Corpus\" portfolio - image E","offer_id":39250882265190,"sku":"8405","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/DF50A27F-2C7E-4DEE-ABC8-5FD6591E7CFA_1_105_c.jpg?v=1614496757"},{"product_id":"gustavo-munroy-and-diego-marcial-rios-from-the-corpus-portfolio-image-f","title":"Gustavo Munroy and Diego Marcial Rios - from the \"Corpus\" portfolio - image F","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis work was published by The \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eArmory Center for the Arts, \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e which is a non-profit\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e community arts organization that offers arts education programs and contemporary art exhibitions in Pasadena, CA. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt originated as the education department of the Pasadena Art Museum,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in 1947. After the museum closed in 1974 (and became the Norton Simon Museum\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e), the education program became known as the Pasadena Art Workshops. The workshops in collaboration with the Baxter Art Gallery \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ebecame the Armory Center for the Arts in 1989.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThese amazing woodcuts were done by Gustavo Munroy and Diego Marcial Rios, in 1992. They are approximately 28\" x 20\". Each is signed, and numbered from an edition of 35\/65.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGustavo Monroy born 1959\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEstudió en la Escuela Nacional de Pintura Escultura y Grabado La Esmeralda. Desde mediados de los años 80 su obra ha sobresalido a nivel nacional e internacional. Actualmente forma parte del acervo de importantes museos y colecciones especializadas en México y Estados Unidos, como el Museo de Arte Moderno de la ciudad de México, el Museo de Arte Contemporáneo de Aguascalientes, el Museo Nacional de la Estampa, el Instituto Nacional de Bellas Artes, el Museo Universitario de Ciencias y Artes de la UNAM y el Museo de Arte Contemporáneo Alvar T. de Carrillo Gil, en México; el Museum of Art-University of Arizona y el Latin American Art Museum en Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePintor, grabador y dibujante, participa activamente en el desarrollo de la vida cultural de su país. Ha obtenido diversos reconocimientos, entre los que destaca el Premio de Pintura de la IX Bienal Rufino Tamayo. Ha sido miembro del Sistema Nacional de Creadores y ha participado como jurado en diversos concursos nacionales como la XII Bienal Rufino Tamayo y recientemente la IX Bienal Alfredo Zalce 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe studied at the National School of sculpture painting and engraving La Esmeralda. Since the mid-80s his work has excelled nationally and internationally. It is currently part of the collection of important museums and specialized collections in Mexico and the United States, such as the Museum of Modern Art of Mexico City, The Museum of Contemporary Art of Aguascalientes, the National Museum of the print, the National Institute of Fine Arts, the University Museum of Sciences and Arts of the UNAM and the Museum of Contemporary Art Alvar T.; the Museum of Art-University of Arizona and the Museum of Latin American Art in Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePainter, engraver and draftsman, he is actively involved in the development of the cultural life of his country. He has obtained several awards, among which the painting prize of the IX Rufino Tamayo biennial, stands out. He has been a member of the National System of creators and has participated as a jury in various national competitions such as the XII Rufino Tamayo Biennial and recently the IX Alfredo Zalce biennial 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDiego Marcial Rios bio\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAncient myths and legends intermingle with today's issues to inspire  the intricate art of Diego Marcial Rios. He creates explosions of color and texture in paintings, masks, woodcuts, and book illustrations. Inspired by Latin history including Aztec and Mayan symbols, Rios celebrates life, explores death, and confronts social and economic justice relevant today. His fanciful and provocative style is honored worldwide in museums including San Francisco’s Legion of Honor. Rios works daily on new creations. After three decades, he continues to be a low profile but highly respected treasure in the art world.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios' paintings, woodcuts, and masks have been included in more than 500 exhibitions in the USA, Asia, and Europe. His dynamic work is featured in a number of Museum Collections including the Laguna Beach Museum, Laguna Beach, CA.; Museo National De La Estampa, Mexico City, Mexico, and in public collections including the San Francisco Mission Cultural Center, C; Harriet Taubman Gallery, MD; and the Irish Arts Council, Belfast, Ireland.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios conducts an ongoing series of very popular workshops including Sacred Heart\/ Mask-Making in the Mexican Tradition in Berkeley, CA, and  Mask-Making for Carnival in San Francisco, CA. In addition, Rios is an engaging and motivating speaker, and he welcomes opportunities to share his passion for creative expression with all audiences, from curious youth to imaginative adults. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“There is something dramatic about black and white. The black\/white woodcut media is an excellent media to express complex political and social beliefs. Woodcut or relief images consist of powerful black and white images with limited lines and grays areas. The results are striking!”\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"from the \"Corpus\" portfolio - image F","offer_id":39250882297958,"sku":"8406","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/IMG_24292.jpg?v=1614496837"},{"product_id":"gustavo-munroy-and-diego-marcial-rios-from-the-corpus-portfolio-image-g","title":"Gustavo Munroy and Diego Marcial Rios - from the \"Corpus\" portfolio - image G","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis work was published by The \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eArmory Center for the Arts, \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e which is a non-profit\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e community arts organization that offers arts education programs and contemporary art exhibitions in Pasadena, CA. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt originated as the education department of the Pasadena Art Museum,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in 1947. After the museum closed in 1974 (and became the Norton Simon Museum\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e), the education program became known as the Pasadena Art Workshops. The workshops in collaboration with the Baxter Art Gallery \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ebecame the Armory Center for the Arts in 1989.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThese amazing woodcuts were done by Gustavo Munroy and Diego Marcial Rios, in 1992. They are approximately 28\" x 20\". Each is signed, and numbered from an edition of 35\/65.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGustavo Monroy born 1959\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEstudió en la Escuela Nacional de Pintura Escultura y Grabado La Esmeralda. Desde mediados de los años 80 su obra ha sobresalido a nivel nacional e internacional. Actualmente forma parte del acervo de importantes museos y colecciones especializadas en México y Estados Unidos, como el Museo de Arte Moderno de la ciudad de México, el Museo de Arte Contemporáneo de Aguascalientes, el Museo Nacional de la Estampa, el Instituto Nacional de Bellas Artes, el Museo Universitario de Ciencias y Artes de la UNAM y el Museo de Arte Contemporáneo Alvar T. de Carrillo Gil, en México; el Museum of Art-University of Arizona y el Latin American Art Museum en Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePintor, grabador y dibujante, participa activamente en el desarrollo de la vida cultural de su país. Ha obtenido diversos reconocimientos, entre los que destaca el Premio de Pintura de la IX Bienal Rufino Tamayo. Ha sido miembro del Sistema Nacional de Creadores y ha participado como jurado en diversos concursos nacionales como la XII Bienal Rufino Tamayo y recientemente la IX Bienal Alfredo Zalce 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe studied at the National School of sculpture painting and engraving La Esmeralda. Since the mid-80s his work has excelled nationally and internationally. It is currently part of the collection of important museums and specialized collections in Mexico and the United States, such as the Museum of Modern Art of Mexico City, The Museum of Contemporary Art of Aguascalientes, the National Museum of the print, the National Institute of Fine Arts, the University Museum of Sciences and Arts of the UNAM and the Museum of Contemporary Art Alvar T.; the Museum of Art-University of Arizona and the Museum of Latin American Art in Long Beach, California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePainter, engraver and draftsman, he is actively involved in the development of the cultural life of his country. He has obtained several awards, among which the painting prize of the IX Rufino Tamayo biennial, stands out. He has been a member of the National System of creators and has participated as a jury in various national competitions such as the XII Rufino Tamayo Biennial and recently the IX Alfredo Zalce biennial 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDiego Marcial Rios bio\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAncient myths and legends intermingle with today's issues to inspire  the intricate art of Diego Marcial Rios. He creates explosions of color and texture in paintings, masks, woodcuts, and book illustrations. Inspired by Latin history including Aztec and Mayan symbols, Rios celebrates life, explores death, and confronts social and economic justice relevant today. His fanciful and provocative style is honored worldwide in museums including San Francisco’s Legion of Honor. Rios works daily on new creations. After three decades, he continues to be a low profile but highly respected treasure in the art world.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios' paintings, woodcuts, and masks have been included in more than 500 exhibitions in the USA, Asia, and Europe. His dynamic work is featured in a number of Museum Collections including the Laguna Beach Museum, Laguna Beach, CA.; Museo National De La Estampa, Mexico City, Mexico, and in public collections including the San Francisco Mission Cultural Center, C; Harriet Taubman Gallery, MD; and the Irish Arts Council, Belfast, Ireland.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRios conducts an ongoing series of very popular workshops including Sacred Heart\/ Mask-Making in the Mexican Tradition in Berkeley, CA, and  Mask-Making for Carnival in San Francisco, CA. In addition, Rios is an engaging and motivating speaker, and he welcomes opportunities to share his passion for creative expression with all audiences, from curious youth to imaginative adults. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“There is something dramatic about black and white. The black\/white woodcut media is an excellent media to express complex political and social beliefs. Woodcut or relief images consist of powerful black and white images with limited lines and grays areas. The results are striking!”\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"from the \"Corpus\" portfolio - image G","offer_id":39250882330726,"sku":"8408","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/IMG_24422.jpg?v=1614496887"},{"product_id":"roberto-matta-centre-noeds-plate-vii","title":"Roberto Matta - Centre Noeds plate VII","description":"\u003cp\u003ePortfolio: Centre Neouds \u003cbr\u003eTitle: Plate VII \u003cbr\u003eYear: 1974 \u003cbr\u003eMedium: Aquatint Etching on Japon paper, signed and numbered in pencil \u003cbr\u003eFrom the deluxe edition, numbered e.a. 9\/15. \u003cbr\u003eImage Size: 14 x 10.5 (35.56 x 26.67 cm) Paper Size: 24 x 17.5 inches (60.96 x 44.45 cm) \u003cbr\u003ePublished by Editions George Visat, Parigi and Alexander Kahan, NY \u003cbr\u003eReference: Figure 402 in \"L'Oeuvre Grave de Matta\" by George Visat, published by Editions Sonnet.\u003cbr\u003e\u003cbr\u003eThis work will be shipped free of charge, if within the US. If shipped internationally it will be a flat rate of $80.\u003cbr\u003e\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRoberto Sebastián Antonio Matta Echaurren (November 11, 1911 – November 23, 2002), better known as Roberto Matta, was one of Chile's best-known painters and a seminal figure in 20th century abstract expressionist and surrealist art.\u003cbr data-mce-fragment=\"1\"\u003eBorn in Santiago, he initially studied architecture at the Pontificia Universidad Católica de Chile in Santiago, but became disillusioned with this occupation and left for Paris in 1933. His travels in Europe and the USA led him to meet artists such as Arshile Gorky, René Magritte, Salvador Dalí, André Breton, and Le Corbusier. Matta was of Spanish, Basque and French descent. It was Breton who provided the major spur to the Chilean's direction in art, encouraging his work and introducing him to the leading members of the Paris Surrealist movement. Matta produced illustrations and articles for Surrealist journals such as Minotaure. During this period he was introduced to the work of many prominent contemporary European artists, such as Pablo Picasso and Marcel Duchamp.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe first true flowering of Matta's own art came in 1938, when he moved from drawing to the oil painting for which he is best known. This period coincided with his emigration to the United States, where he lived until 1948. His early paintings, such as Invasion of the Night, give an indication of the work he would continue, with diffuse light patterns and bold lines on a featureless background. This is also the period of the \"inscape\" series, and the closely related \"psychological morphologies\". Prof. Claude Cernuschi (see Boston College Matta exhibition external link below) writes, \"Matta's key ambition to represent and evoke the human psyche in visual form was filtered through the writings of Freud and the psychoanalytic view of the mind as a three-dimensional space: the 'inscape'.\" According to the essay on Matta in Crosscurrents of Modernism (see references below), the inscapes' evocative forms \"are visual analogies for the artist's psyche\" (p. 241). During the 1940s and 1950s, the disturbing state of world politics found reflection in Matta's work, with the canvases becoming busy with images of electrical machinery and distressed figures. The addition of clay to Matta's paintings in the early 1960s lent an added dimension to the distortions.\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMatta's connections with Breton's surrealist movement were severed following a private disagreement concerning Arshile Gorky and his family. Matta was accused of indirectly causing Gorky's suicide (in response to Matta's relationship with the Armenian-American painter's wife). This led to his expulsion from the group, but by this time Matta's own name was becoming widely known. He divided his life between Europe and South America during the 1950s and 1960s, successfully combining the political and the semi-abstract in epic surreal canvases. Matta believed that art and poetry can change lives, and was very involved in the social movements of the 1960s and 1970s. He was a strong supporter of the socialist government of president Salvador Allende in Chile. A 4x24 meter mural of his entitled The First Goal of the Chilean People, was painted over with 16 coats of paint by the military regime of Augusto Pinochet following their violent overthrow of Salvador Allende in 1973. In 2005 the mural was discovered by local officials. In 2008 the mural was completely restored at a cost of $43,000, and is displayed today in Santiago at the La Granja city hall.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eThroughout his life, Matta worked with many different types of media, including ceramic, photography, and video production.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eMatta died in Civitavecchia Italy on 23 November 2002\u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Default Title","offer_id":39258899972198,"sku":"9103","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/IMG_5761.jpg?v=1615094661"},{"product_id":"zaida-del-rio-vaso-del-rey","title":"Zaida del Rio - Vaso del Rey","description":"\u003cstrong\u003e\u003c\/strong\u003e\n\u003cp\u003eThis is a great serigraph, by the most important living woman artist in Cuba today. It has the kind of detail she has become known for. It is a magical work. It measures 35\" x 27\". It was done in 2003. It is signed and dated.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eZaida del Rio (b. 1954, Guadalupe, Las Villas, Cuba) is one of Cuba's most respected living female artists today. Her works establish a link between the human body as a landscape and nature. She draws inspiration from her intense connection with mother nature to create a imaginary world where plants and trees merge with human figures that are characterized by their innate femininity. By applying abstraction, del Rio uses a visual vocabulary that addresses spirituality and hedonism.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDel Rio received her diploma in Fine Art from National School of Fine Arts in Havana, Cuba, a Bachelor of Fine Art from the Superior Institute of Art in Havana, Cuba, and a Master in Fine Arts from the Ecole de Beaux in Paris, France. Her work has participated in all editions of the Biennial of Havana, Cuba and Biennales in Ecuador, Egypt, Brazil, Santo Domingo, and Japan. She has exhibited in solo exhibitions at Estudio los Oficios Gallery, Havana, Cuba; Gallery Via Larga, Florence, Italy; Gallery G, Barcelona, Spain and many other museums and galleries around the world. Her numerous group exhibitions include \"Case Western Reserve\" at Mather's University Gallery Cleveland, Ohio. Over the years, Del Rio has been honored with several awards including the Third Prize of Painting during the Biennial of Tenri Japan.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Default Title","offer_id":39260354543718,"sku":"9235","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/8515207_1.jpg?v=1615260078"},{"product_id":"jaime-bachelou-serpiente","title":"Jaime Bachelou - Sequence","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis is a rather stunning serigraph, by a very talented artist. This work measures around 26\" x 26\". Numbered 5\/50. Done in 1994.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCuba is a goldmine of talent. From the Russian influences, to the classical European artists, that many of the Cuban Masters studied with. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDespite a series of repressive governments the art scene has historically thrived in \u003c\/span\u003e\u003ca href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\" sl-processed=\"1\"\u003eCuba\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e, where culture occupies a prominent place. Art played a key role in the Cuban revolution and there are currently about 14 art schools, a University of Fine Arts, as well as 13,000 ‘registered artists’ on the island, as Rene Duquesne of the National Council of Visual Arts points out. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003eThe African presence in Cuba is undeniable, incredibly strong and visible but because of the practice of whitening in the US, it is possible to shed, deny, or simply omit one's blackness in order to melt into the dominant, acceptable identity group in Miami. Here it is both possible and common to refer to being Cuban, refer to one's self as “white” while showing pictures of generations of family that include a Black abuelo or abuelita. So when we talk of Afro-Cuban art, we have several distinctions – art that pays homage to African heritage and culture, art by Black Cubans, art that makes reference to Afro-Cuban culture, and none of these are mutually exclusive. As a “movement,” Afro-Cuban Art involves bringing what is Black about Cuba to the forefront and an important linking with Black diaspora arts as a much larger field or landscape. It is one in which Black\/ Afro-Cuban lives matter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfro-Cuban art has given the world, and the African diaspora in particular, a symbolic language with which to speak to and about African spiritual systems, specifically with regard to the orishas. The iconography of spiritual African systems from many nations – Yoruba, Fon, Dahomey, Congo, Ketu, Ijesha, Egbado, Oyo, Nago, Jeje are all a part of what has become Afro-Cuban art. Here there are so many points of reference that people from throughout the African Diaspora will feel and see a “familiar” energy in a variety of artistic mediums in Cuba and the Cuban diaspora.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy using this symbolic language, embedding it in painting, music, sculpture, textiles, and other mediums the narrative histories of West and Southern Africa (specifically Yoruba and Congo) that didn’t exist visually as art for art sake in Africa have significantly contributed to the globalization of Lucumi\/orisa culture and positive associations with Cuban culture worldwide. The Lucumi tradition also understood as Afro-Cuban religion, has given us a new world lens on ancient African traditional spiritual systems by creating visible representations that offer a new and necessary lingua franca that we recognize as part of Cuba, bringing together African aesthetics from many different nations.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs such Afro-Cuban religion has travelled extensively and influenced the world. It is possible now to see certain images and identify them as representations of Oshun, Oggun, Exu, Obatala, Shango, Oya, Ochossi and their tools as both overt and imbedded in artistic forms. This is a major specific contribution Afro-Cuban art has made to the world – it has in this way made visible narratives which only existed orally and in the minds and hearts of practitioners for many generations. Now, because of Afro-Cuban art, students reading African American novelist Ntozake Shange or viewing international pop sensation Beyonce’s “Lemonade,” can quickly pick up on the Osun imagery because we have a context for a yellow wearing, mirror having, beautiful, brown skinned woman in touch with her own sensuality.\u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Default Title","offer_id":39261481009254,"sku":"9314","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Bachelou-serpiente-26x26_-serigraph-5_50.jpg?v=1615365560"},{"product_id":"juarencia-faron-mujer-en-morado","title":"Carla Faron - Mujer en morado","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis is a rather nice etching, by a very talented artist. This work measures around 10\" x 14\". Numbered 14\/15. Done in 1997.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCuba is a goldmine of talent. From the Russian influences, to the classical European artists, that many of the Cuban Masters studied with. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDespite a series of repressive governments the art scene has historically thrived in \u003c\/span\u003e\u003ca href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\" sl-processed=\"1\"\u003eCuba\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e, where culture occupies a prominent place. Art played a key role in the Cuban revolution and there are currently about 14 art schools, a University of Fine Arts, as well as 13,000 ‘registered artists’ on the island, as Rene Duquesne of the National Council of Visual Arts points out. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003eThe African presence in Cuba is undeniable, incredibly strong and visible but because of the practice of whitening in the US, it is possible to shed, deny, or simply omit one's blackness in order to melt into the dominant, acceptable identity group in Miami. Here it is both possible and common to refer to being Cuban, refer to one's self as “white” while showing pictures of generations of family that include a Black abuelo or abuelita. So when we talk of Afro-Cuban art, we have several distinctions – art that pays homage to African heritage and culture, art by Black Cubans, art that makes reference to Afro-Cuban culture, and none of these are mutually exclusive. As a “movement,” Afro-Cuban Art involves bringing what is Black about Cuba to the forefront and an important linking with Black diaspora arts as a much larger field or landscape. It is one in which Black\/ Afro-Cuban lives matter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfro-Cuban art has given the world, and the African diaspora in particular, a symbolic language with which to speak to and about African spiritual systems, specifically with regard to the orishas. The iconography of spiritual African systems from many nations – Yoruba, Fon, Dahomey, Congo, Ketu, Ijesha, Egbado, Oyo, Nago, Jeje are all a part of what has become Afro-Cuban art. Here there are so many points of reference that people from throughout the African Diaspora will feel and see a “familiar” energy in a variety of artistic mediums in Cuba and the Cuban diaspora.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy using this symbolic language, embedding it in painting, music, sculpture, textiles, and other mediums the narrative histories of West and Southern Africa (specifically Yoruba and Congo) that didn’t exist visually as art for art sake in Africa have significantly contributed to the globalization of Lucumi\/orisa culture and positive associations with Cuban culture worldwide. The Lucumi tradition also understood as Afro-Cuban religion, has given us a new world lens on ancient African traditional spiritual systems by creating visible representations that offer a new and necessary lingua franca that we recognize as part of Cuba, bringing together African aesthetics from many different nations.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs such Afro-Cuban religion has travelled extensively and influenced the world. It is possible now to see certain images and identify them as representations of Oshun, Oggun, Exu, Obatala, Shango, Oya, Ochossi and their tools as both overt and imbedded in artistic forms. This is a major specific contribution Afro-Cuban art has made to the world – it has in this way made visible narratives which only existed orally and in the minds and hearts of practitioners for many generations. Now, because of Afro-Cuban art, students reading African American novelist Ntozake Shange or viewing international pop sensation Beyonce’s “Lemonade,” can quickly pick up on the Osun imagery because we have a context for a yellow wearing, mirror having, beautiful, brown skinned woman in touch with her own sensuality.\u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Default Title","offer_id":39261567549542,"sku":"9320","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Falon-litho-10x14_1997-14_15.jpg?v=1615370583"},{"product_id":"garriel-arevalo-el-coyote","title":"Gabriela Arevalo - El coyote","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis is a rather nice serigraph, by a talented Cuban artist. This work measures around 20\" x 15\". Numbered p.a. for artists proof. Done in 1997.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCuba is a goldmine of talent. From the Russian influences, to the classical European artists, that many of the Cuban Masters studied with. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDespite a series of repressive governments the art scene has historically thrived in \u003c\/span\u003e\u003ca href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\" sl-processed=\"1\"\u003eCuba\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e, where culture occupies a prominent place. Art played a key role in the Cuban revolution and there are currently about 14 art schools, a University of Fine Arts, as well as 13,000 ‘registered artists’ on the island, as Rene Duquesne of the National Council of Visual Arts points out. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003eThe African presence in Cuba is undeniable, incredibly strong and visible but because of the practice of whitening in the US, it is possible to shed, deny, or simply omit one's blackness in order to melt into the dominant, acceptable identity group in Miami. Here it is both possible and common to refer to being Cuban, refer to one's self as “white” while showing pictures of generations of family that include a Black abuelo or abuelita. So when we talk of Afro-Cuban art, we have several distinctions – art that pays homage to African heritage and culture, art by Black Cubans, art that makes reference to Afro-Cuban culture, and none of these are mutually exclusive. As a “movement,” Afro-Cuban Art involves bringing what is Black about Cuba to the forefront and an important linking with Black diaspora arts as a much larger field or landscape. It is one in which Black\/ Afro-Cuban lives matter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfro-Cuban art has given the world, and the African diaspora in particular, a symbolic language with which to speak to and about African spiritual systems, specifically with regard to the orishas. The iconography of spiritual African systems from many nations – Yoruba, Fon, Dahomey, Congo, Ketu, Ijesha, Egbado, Oyo, Nago, Jeje are all a part of what has become Afro-Cuban art. Here there are so many points of reference that people from throughout the African Diaspora will feel and see a “familiar” energy in a variety of artistic mediums in Cuba and the Cuban diaspora.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy using this symbolic language, embedding it in painting, music, sculpture, textiles, and other mediums the narrative histories of West and Southern Africa (specifically Yoruba and Congo) that didn’t exist visually as art for art sake in Africa have significantly contributed to the globalization of Lucumi\/orisa culture and positive associations with Cuban culture worldwide. The Lucumi tradition also understood as Afro-Cuban religion, has given us a new world lens on ancient African traditional spiritual systems by creating visible representations that offer a new and necessary lingua franca that we recognize as part of Cuba, bringing together African aesthetics from many different nations.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs such Afro-Cuban religion has travelled extensively and influenced the world. It is possible now to see certain images and identify them as representations of Oshun, Oggun, Exu, Obatala, Shango, Oya, Ochossi and their tools as both overt and imbedded in artistic forms. This is a major specific contribution Afro-Cuban art has made to the world – it has in this way made visible narratives which only existed orally and in the minds and hearts of practitioners for many generations. Now, because of Afro-Cuban art, students reading African American novelist Ntozake Shange or viewing international pop sensation Beyonce’s “Lemonade,” can quickly pick up on the Osun imagery because we have a context for a yellow wearing, mirror having, beautiful, brown skinned woman in touch with her own sensuality.\u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Default Title","offer_id":39261568106598,"sku":"9322","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/GabrielaArevalo-Elcoyote-20x15-1997serigraph.jpg?v=1615370794"},{"product_id":"juan-gilboa-ciudad-del-monte","title":"Juan Gilboa - Ciudad del monte","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis is a rather nice serigraph, by a talented Cuban artist. This work measures 20\" x 25\". Numbered 176\/250. Done in 1995.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCuba is a goldmine of talent. From the Russian influences, to the classical European artists, that many of the Cuban Masters studied with. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDespite a series of repressive governments the art scene has historically thrived in \u003c\/span\u003e\u003ca href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\" sl-processed=\"1\"\u003eCuba\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e, where culture occupies a prominent place. Art played a key role in the Cuban revolution and there are currently about 14 art schools, a University of Fine Arts, as well as 13,000 ‘registered artists’ on the island, as Rene Duquesne of the National Council of Visual Arts points out. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003eThe African presence in Cuba is undeniable, incredibly strong and visible but because of the practice of whitening in the US, it is possible to shed, deny, or simply omit one's blackness in order to melt into the dominant, acceptable identity group in Miami. Here it is both possible and common to refer to being Cuban, refer to one's self as “white” while showing pictures of generations of family that include a Black abuelo or abuelita. So when we talk of Afro-Cuban art, we have several distinctions – art that pays homage to African heritage and culture, art by Black Cubans, art that makes reference to Afro-Cuban culture, and none of these are mutually exclusive. As a “movement,” Afro-Cuban Art involves bringing what is Black about Cuba to the forefront and an important linking with Black diaspora arts as a much larger field or landscape. It is one in which Black\/ Afro-Cuban lives matter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfro-Cuban art has given the world, and the African diaspora in particular, a symbolic language with which to speak to and about African spiritual systems, specifically with regard to the orishas. The iconography of spiritual African systems from many nations – Yoruba, Fon, Dahomey, Congo, Ketu, Ijesha, Egbado, Oyo, Nago, Jeje are all a part of what has become Afro-Cuban art. Here there are so many points of reference that people from throughout the African Diaspora will feel and see a “familiar” energy in a variety of artistic mediums in Cuba and the Cuban diaspora.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy using this symbolic language, embedding it in painting, music, sculpture, textiles, and other mediums the narrative histories of West and Southern Africa (specifically Yoruba and Congo) that didn’t exist visually as art for art sake in Africa have significantly contributed to the globalization of Lucumi\/orisa culture and positive associations with Cuban culture worldwide. The Lucumi tradition also understood as Afro-Cuban religion, has given us a new world lens on ancient African traditional spiritual systems by creating visible representations that offer a new and necessary lingua franca that we recognize as part of Cuba, bringing together African aesthetics from many different nations.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs such Afro-Cuban religion has travelled extensively and influenced the world. It is possible now to see certain images and identify them as representations of Oshun, Oggun, Exu, Obatala, Shango, Oya, Ochossi and their tools as both overt and imbedded in artistic forms. This is a major specific contribution Afro-Cuban art has made to the world – it has in this way made visible narratives which only existed orally and in the minds and hearts of practitioners for many generations. Now, because of Afro-Cuban art, students reading African American novelist Ntozake Shange or viewing international pop sensation Beyonce’s “Lemonade,” can quickly pick up on the Osun imagery because we have a context for a yellow wearing, mirror having, beautiful, brown skinned woman in touch with her own sensuality.\u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Default Title","offer_id":39262183751782,"sku":"9330","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Gilboa-20x25_-serigraph-ciudaddelmonte-176_250.jpg?v=1615431102"},{"product_id":"gabriela-gareide-green-man","title":"Gabriela Gareide - Green man","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis is a lovely etching, by a very talented artist. This work measures around 16\" x 12\". Numbered 3\/12. Done in 1998.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCuba is a goldmine of talent. From the Russian influences, to the classical European artists, that many of the Cuban Masters studied with. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDespite a series of repressive governments the art scene has historically thrived in \u003c\/span\u003e\u003ca href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\" sl-processed=\"1\"\u003eCuba\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e, where culture occupies a prominent place. Art played a key role in the Cuban revolution and there are currently about 14 art schools, a University of Fine Arts, as well as 13,000 ‘registered artists’ on the island, as Rene Duquesne of the National Council of Visual Arts points out. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003eThe African presence in Cuba is undeniable, incredibly strong and visible but because of the practice of whitening in the US, it is possible to shed, deny, or simply omit one's blackness in order to melt into the dominant, acceptable identity group in Miami. Here it is both possible and common to refer to being Cuban, refer to one's self as “white” while showing pictures of generations of family that include a Black abuelo or abuelita. So when we talk of Afro-Cuban art, we have several distinctions – art that pays homage to African heritage and culture, art by Black Cubans, art that makes reference to Afro-Cuban culture, and none of these are mutually exclusive. As a “movement,” Afro-Cuban Art involves bringing what is Black about Cuba to the forefront and an important linking with Black diaspora arts as a much larger field or landscape. It is one in which Black\/ Afro-Cuban lives matter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfro-Cuban art has given the world, and the African diaspora in particular, a symbolic language with which to speak to and about African spiritual systems, specifically with regard to the orishas. The iconography of spiritual African systems from many nations – Yoruba, Fon, Dahomey, Congo, Ketu, Ijesha, Egbado, Oyo, Nago, Jeje are all a part of what has become Afro-Cuban art. Here there are so many points of reference that people from throughout the African Diaspora will feel and see a “familiar” energy in a variety of artistic mediums in Cuba and the Cuban diaspora.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy using this symbolic language, embedding it in painting, music, sculpture, textiles, and other mediums the narrative histories of West and Southern Africa (specifically Yoruba and Congo) that didn’t exist visually as art for art sake in Africa have significantly contributed to the globalization of Lucumi\/orisa culture and positive associations with Cuban culture worldwide. The Lucumi tradition also understood as Afro-Cuban religion, has given us a new world lens on ancient African traditional spiritual systems by creating visible representations that offer a new and necessary lingua franca that we recognize as part of Cuba, bringing together African aesthetics from many different nations.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs such Afro-Cuban religion has travelled extensively and influenced the world. It is possible now to see certain images and identify them as representations of Oshun, Oggun, Exu, Obatala, Shango, Oya, Ochossi and their tools as both overt and imbedded in artistic forms. This is a major specific contribution Afro-Cuban art has made to the world – it has in this way made visible narratives which only existed orally and in the minds and hearts of practitioners for many generations. Now, because of Afro-Cuban art, students reading African American novelist Ntozake Shange or viewing international pop sensation Beyonce’s “Lemonade,” can quickly pick up on the Osun imagery because we have a context for a yellow wearing, mirror having, beautiful, brown skinned woman in touch with her own sensuality.\u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Default Title","offer_id":39262193778790,"sku":"9340","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/IMG_2593.jpg?v=1615432356"},{"product_id":"alixn-lumanengo-de-una-hoja","title":"Alixn Lumanengo - De una hoja","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis is a lovely serigraph, by a very talented artist. This work measures around 18\" x 14\". Numbered 21\/90. Done in 1992.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCuba is a goldmine of talent. From the Russian influences, to the classical European artists, that many of the Cuban Masters studied with. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDespite a series of repressive governments the art scene has historically thrived in \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\" sl-processed=\"1\" data-mce-href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/\"\u003eCuba\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e, where culture occupies a prominent place. Art played a key role in the Cuban revolution and there are currently about 14 art schools, a University of Fine Arts, as well as 13,000 ‘registered artists’ on the island, as Rene Duquesne of the National Council of Visual Arts points out. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003eThe African presence in Cuba is undeniable, incredibly strong and visible but because of the practice of whitening in the US, it is possible to shed, deny, or simply omit one's blackness in order to melt into the dominant, acceptable identity group in Miami. Here it is both possible and common to refer to being Cuban, refer to one's self as “white” while showing pictures of generations of family that include a Black abuelo or abuelita. So when we talk of Afro-Cuban art, we have several distinctions – art that pays homage to African heritage and culture, art by Black Cubans, art that makes reference to Afro-Cuban culture, and none of these are mutually exclusive. As a “movement,” Afro-Cuban Art involves bringing what is Black about Cuba to the forefront and an important linking with Black diaspora arts as a much larger field or landscape. It is one in which Black\/ Afro-Cuban lives matter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfro-Cuban art has given the world, and the African diaspora in particular, a symbolic language with which to speak to and about African spiritual systems, specifically with regard to the orishas. The iconography of spiritual African systems from many nations – Yoruba, Fon, Dahomey, Congo, Ketu, Ijesha, Egbado, Oyo, Nago, Jeje are all a part of what has become Afro-Cuban art. Here there are so many points of reference that people from throughout the African Diaspora will feel and see a “familiar” energy in a variety of artistic mediums in Cuba and the Cuban diaspora.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy using this symbolic language, embedding it in painting, music, sculpture, textiles, and other mediums the narrative histories of West and Southern Africa (specifically Yoruba and Congo) that didn’t exist visually as art for art sake in Africa have significantly contributed to the globalization of Lucumi\/orisa culture and positive associations with Cuban culture worldwide. The Lucumi tradition also understood as Afro-Cuban religion, has given us a new world lens on ancient African traditional spiritual systems by creating visible representations that offer a new and necessary lingua franca that we recognize as part of Cuba, bringing together African aesthetics from many different nations.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs such Afro-Cuban religion has travelled extensively and influenced the world. It is possible now to see certain images and identify them as representations of Oshun, Oggun, Exu, Obatala, Shango, Oya, Ochossi and their tools as both overt and imbedded in artistic forms. This is a major specific contribution Afro-Cuban art has made to the world – it has in this way made visible narratives which only existed orally and in the minds and hearts of practitioners for many generations. Now, because of Afro-Cuban art, students reading African American novelist Ntozake Shange or viewing international pop sensation Beyonce’s “Lemonade,” can quickly pick up on the Osun imagery because we have a context for a yellow wearing, mirror having, beautiful, brown skinned woman in touch with her own sensuality.\u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Default Title","offer_id":39262194991206,"sku":"9341","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Mares-1990-16x10-serigraph.jpg?v=1615432586"},{"product_id":"ana-mendez-azcarate-the-muse","title":"Ana Mendez Azcarate - The muse","description":"\u003cp\u003eThis is a large lithograph by the well regarded Mexican artist, Ana Mendez Azcarate. It is about 30\" x 22\", was done in 1986, is signed and numbered from an edition of 50, and is in excellent condition.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (\u003cem\u003ecalaveras\u003c\/em\u003e) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph \u003cem\u003eEmiliano Zapata and His Horse\u003c\/em\u003e, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908\/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, \u003cem\u003eClave\u003c\/em\u003e, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBy 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Ana Mendez Azcarate - The muse","offer_id":39262206656614,"sku":"9345","price":495.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/anamendezaxcarate-themuse-litho-7_50-1986-30x22.jpg?v=1615433435"},{"product_id":"ana-mendez-azcarate-resurrection-in-red","title":"Ana Mendez Azcarate - Resurrection in red","description":"\u003cp\u003eThis is a large lithograph by the well regarded Mexican artist, Ana Mendez Azcarate. It is about 30\" x 22\", was done in 1985, is signed and numbered 12\/20, and is in excellent condition.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (\u003cem\u003ecalaveras\u003c\/em\u003e) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph \u003cem\u003eEmiliano Zapata and His Horse\u003c\/em\u003e, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908\/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, \u003cem\u003eClave\u003c\/em\u003e, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBy 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"MLA Gallery","offers":[{"title":"Ana Mendez Azcarate - Resurrection","offer_id":39262209343590,"sku":"9352","price":495.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/AnaMendezAzcarate-Resurrection-1985-12_20litho-30x22.jpg?v=1615433677"},{"product_id":"raul-anguiano","title":"Raul Anguiano - Madre con Nina","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003eThis is a gorgeous Anguiano lithograph done in 1983. It measures 21\" x 29\", is signed in pencil, dated, and numbered E.F. 4\/15. This work is super rare. \u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cbr\u003e\n\u003cp\u003eIn 1937 Anguiano joined the Revolutionary Writers and Artists League. Together, with Alfredo Zalce and Pablo O'Higgins, he was also a founding member of thePopular Graphics Workshop, where artist practised a graphic style based on Mexico's folk traditions. This was due to the powerful influence of the recently discovered Jose Guadalupe Posada and Goya.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eRaúl Anguiano belongs to the so-called \"Third Generation\" of post-revolutionary painters, along with Juan O'Gorman, Jorge González Camarena, José Chávez Morado, Alfredo Zalce, Jesús Guerrero Galván and Julio Castellanos, all known for being unorthodox, associated in politics and in art, while at the same time, holding to certain traditional canons. Anguiano's work is viewed as an expression of its time because of its undeniably Mexican flavour, and the link to his people is clear, not only in his murals but also on canvas, etchings, pencil and ink drawings, lithographs and illustrations, and also more recently in sculpture and ceramics. Without compromising his personality or ethnic roots, and at the same time not allowing them to limit him, Anguiano has vindicated and taken advantage of the principles of modern art, giving him a universal and transcending character of his boundary work.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eAnguiano held his first solo exhibition, entitled \"Raúl Anguiano and Máximo Pacheco\" at the Palace of Fine Arts in Mexico City, in 1935; and in 1940 he took part in his first collective exhibition \"Twenty Centuries of Mexican Art\". These were followed by more than 100 shows in many countries as Cuba, Chile, Colombia, Brazil, United States, France, Italy, the former Soviet Union, Israel, Germany and Japan. His most recent exhibitions include the presentation of a series of four colour lithographs, held at the Hall of Graphic Arts SAGA 88, from 1989 to 1990, in Paris; and the retrospective look at Anguiano's work in graphics (1938-1940), held at the National Print Museum in Mexico City in 1990.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Madre con Nina","offer_id":39262210752614,"sku":"9351","price":1300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/Anguiano-1983-litho-4_15-22x30.jpg?v=1615434044"},{"product_id":"raul-anguiano-trabajadores-1","title":"Raul Anguiano - Desaquerdo","description":"\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003eThis is a gorgeous Anguiano woodcut done in 1979. It measures 20\" x 15\", is signed in pencil, dated, and numbered A.P. from the artists proof edition of 10. This work is super rare. \u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin-left: 52px; margin-right: 52px; text-align: justify;\"\u003e\n\u003cbr\u003e\n\u003cp\u003eIn 1937 Anguiano joined the Revolutionary Writers and Artists League. Together, with Alfredo Zalce and Pablo O'Higgins, he was also a founding member of thePopular Graphics Workshop, where artist practised a graphic style based on Mexico's folk traditions. This was due to the powerful influence of the recently discovered Jose Guadalupe Posada and Goya.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eRaúl Anguiano belongs to the so-called \"Third Generation\" of post-revolutionary painters, along with Juan O'Gorman, Jorge González Camarena, José Chávez Morado, Alfredo Zalce, Jesús Guerrero Galván and Julio Castellanos, all known for being unorthodox, associated in politics and in art, while at the same time, holding to certain traditional canons. Anguiano's work is viewed as an expression of its time because of its undeniably Mexican flavour, and the link to his people is clear, not only in his murals but also on canvas, etchings, pencil and ink drawings, lithographs and illustrations, and also more recently in sculpture and ceramics. Without compromising his personality or ethnic roots, and at the same time not allowing them to limit him, Anguiano has vindicated and taken advantage of the principles of modern art, giving him a universal and transcending character of his boundary work.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eAnguiano held his first solo exhibition, entitled \"Raúl Anguiano and Máximo Pacheco\" at the Palace of Fine Arts in Mexico City, in 1935; and in 1940 he took part in his first collective exhibition \"Twenty Centuries of Mexican Art\". These were followed by more than 100 shows in many countries as Cuba, Chile, Colombia, Brazil, United States, France, Italy, the former Soviet Union, Israel, Germany and Japan. His most recent exhibitions include the presentation of a series of four colour lithographs, held at the Hall of Graphic Arts SAGA 88, from 1989 to 1990, in Paris; and the retrospective look at Anguiano's work in graphics (1938-1940), held at the National Print Museum in Mexico City in 1990.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eFor more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:\u003c\/p\u003e\n\u003cdiv\u003e\u003ca href=\"http:\/\/www.artnet.com\/galleries\/mla-gallery\/\" target=\"_blank\"\u003ehttp:\/\/www.artnet.com\/galleries\/mla-gallery\/\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MLA Gallery","offers":[{"title":"Desaquerdo","offer_id":39262225104998,"sku":"9460","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/products\/IMG_3923.jpg?v=1615434817"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0087\/6192\/collections\/Barbera_-_Clandestina_-_hi_res.jpg?v=1768260358","url":"https:\/\/mlagallery.com\/collections\/latin-american-artist-prints-unique-art-collection.oembed?page=3","provider":"MLA Gallery","version":"1.0","type":"link"}