Adelante Comunidad Exhibit at Stanford

Josh Schneider penned this article here:

Adelante Comunidad opens this week in the South Lobby of the East Wing of Green Library. The exhibit, which draws on posters and other materials from the collections of the Stanford University Archives, celebrates over four decades of graphic arts produced by the Stanford Chicanx and Latinx community. Many of the posters were transferred from El Centro Chicano y Latino earlier this year, and highlight educational events and speaking series sponsored by El Centro, and Stanford MEChA (Movimiento Estudiantil Chicanx de Aztlán).

The artwork of Chicano poet and artist José Antonio “Tony” Burciaga (1940-1996), who served as a resident fellow at Casa Zapata from 1985-1994 along with his wife Cecilia, is prominently featured. (During her time at Stanford, Cecilia also served as Associate Dean of Graduate Studies, Associate Provost for Faculty Affairs, and Assistant to the President as Director of the Office of Chicano Affairs, and was very active in the formation of El Centro Chicano). Tony Burciaga’s most well-known mural, the critically-acclaimed “Last Supper of Chicano Heroes,” is still on display in the Casa Zapata dining hall. It is represented in this exhibit via a signed reproduction, and also appears in a video installation narrated by Burciaga that depicts a walkthrough of Casa Zapata murals.

About the Materials Exhibited

Materials exhibited are drawn from the collections of the Stanford University Archives.  For more information about any of the collection materials included in this exhibit, please contact the University Archives at

About Special Collections & University Archives Exhibits

The Stanford University Libraries’ Department of Special Collections and University Archives acquires, preserves, and provides access to primary source materials that support the research needs of the Stanford community and beyond, including through the creation of exhibits.

Share your Materials with the Archives!

The Archives collects a wide range of materials from students and alumni, including print and digital publications, posters, photographs, audio and video, email, websites, social media, and more. Our All Stanford initiative is aimed at improving our documentation of Stanford women, the Queer community, communities of color, and activists. Help the Archives expand the range of voices and materials in our collections! Learn how to by visiting the Stanford Alumni Legacy Project web page or contact us at

First of its kind Latino museum to open in Seattle this winter

Original post by Tony Black for K5 News:

A Seattle organization called Sea Mar that specializes in a variety of health and education services for the Latino Community is set to open a museum.

The museum is called the Sea Mar Museum of Chicano/a Latino/a Culture and is tentatively scheduled to open this winter. It is located just off Des Moines Memorial Drive.

Organizers say while the museum is a big part of the project, it is actually a lot more. There will be a community center, as well as an adolescence clinic and Latino radio station.

Jesus Sanchez, the Vice President of Economic Development and Government Affairs for Sea Mar, said the museum was a long time coming and is an important step in telling the history of the Latino community in Washington state.

“You find very little history about the contributions the Latino, Chicano, Mexican American community has made for the state of Washington,” Sanchez said. “This museum that Sea Mar is building is designed to create our own story.”

Carolina Lucero, the Senior Vice President of Sea Mar, said she is excited for the museum as it gives the Latino community a place to call their own.

“It’s not just a building. It is a place where people can come and feel comfortable, a place where people can come and call home,” Lucero said.

The museum is still under construction and scheduled to open in the winter. For more details and to see renderings of the final design, visit the Sea Mar website.

Emmy Pérez, Leticia Urieta, Marilyse V. Figueroa & Britt Haraway at Malvern Books in Austin

This is last minute – hope some folks can make it.

Join us for an evening with Emmy Pérez, Leticia Urieta, Marilyse V. Figueroa, and Britt Haraway. Hosted by ire’ne lara silva on Monday, July 23, 2018.

Emmy Pérez is the author of With the River on Our Face and Solstice. She is the recipient of a 2017 National Endowment for the Arts poetry fellowship. She’s a member of the Macondo Writers’ Workshop and is an associate professor at the University of Texas Rio Grande Valley.

Leticia Urieta is proud Tejana writer from Austin, TX. She works as a teaching artist in the Austin community. She is a graduate of Agnes Scott College and holds an MFA in Fiction writing from Texas State University. Her work appears or is forthcoming in Cleaver, Chicon Street Poets Anthology, BorderSenses, Lumina, The Offing and others. She has recently completed her first mixed genre collection of poetry and prose and is currently at work completing her novel that tells the story of a Mexican soldadera caught up in the march to Texas during Texas’ war with Mexico.

Marilyse V. Figueroa is an unapologetic Scorpio just like Björk, and a proud queer femme Xicana – Puerto Riqueña from Oklahoma and Texas. Marilyse’s work has been published in Acentos Review, Southwestern American Literature, St. Sucia Zine, and many others. Marilyse has been the Director of the San Marcos, Texas Chapter of Barrio Writers Workshop since 2017, and she is currently the Artist-In-Residence at the Writing Barn in Austin. Her work embodies a fascination with hybridity–a mezcla of fiction, poetry, testimonio, sci-fi and fantasy. She is currently working on a collection of short stories and an experimental novella.

Britt Haraway has a short story collection Early Men which was published by Lamar University Literary Press. His stories have appeared in Natural Bridge, New Madrid, Great Weather for Media, Moon City Review, and elsewhere. His work was chosen for the Best Small Fictions 2016, guest edited by Stuart Dybek. He is an assistant professor at the University of Texas Rio Grande Valley and the fiction editor for riverSedge magazine. He lives in McAllen Texas with his family.

* A note on parking: Our landlord has requested that we ask everyone to please only use the store parking lot for attending events at Malvern Books and stores within the Park Plaza Shopping Center. Unfortunately, if you leave your car before or after an event (if you park out front with the intention of getting a meal across the road before attending an event here, for instance), there’s a chance your car could be towed or booted, and we’d hate for that to happen! If parking is unavailable in the store parking lot, please use residential streets. Or, for evening events, you can park at Breed Hardware, 718 W. 29th Street, when they’re closed (they close at 7pm Mon – Fri). *

* Accessibility: Malvern Books has a wheelchair ramp and is wheelchair accessible. We also have two accessible parking spots by the ramp and a single occupancy ADA standard restroom. If you have other accessibility needs or need other accommodations, please call us at 512-322-2097. *

Reminder: Texas Latino Comic Con on 7/28

Our stories matter. The 2nd annual Texas Latino
Comic Con is returning to Dallas Texas July 28th in collaboration with the Latino Cultural Center of Dallas! This comic convention highlights Latino artists, writers, and creators in the comic book community.

The convention will feature local artistic talent, a Latino character centered cosplay contest, and special guests. The event will be free for the public and all are invited to attend! Our stories matter!

Where: Latino Cultural Center

2600 Live Oak Street
Dallas, Texas 75204

When: 7/28 from 11:00am to 6:00pm

Official website:


New Art Exhibition: Vincent Valdez: The City

There is a new art exhibit opening today at the Blanton Art Museum in Austin, Texas. It looks phenomenal and you can learn more about it here:  It will be running from July 17-October 28, 2018.



Vincent Valdez’s The City I (2015–16) is a four-part canvas that portrays a group in Ku Klux Klan robes and hoods on a bluff overlooking a metropolis at night. The black-and-white palette recalls the look of historical photographs and old movies, but details such as an iPhone, a can of Budweiser beer, and a new Chevrolet truck situate the work firmly in the present day. In spite of the work’s unsettling subject matter, the group engages in seemingly familiar activities: a parent holds a child, a woman clutches a clipboard like a teacher keeping track of her students, and a man checks his phone. We have interrupted their gathering. The group looks warily at us as we look at them; no one appears to be welcome here.

Beginning in the fall of 2015, Valdez worked for nearly a year to complete his City paintings. The scenes they depict are invented, but as the Texas artist points out, this underscores their continued relevance and ubiquity: “This could be any city in America. These individuals could be any Americans. There is a false sense that these threats were, or are, contained at the peripheries of society and in small rural communities. . . . It is possible that they are city politicians, police chiefs, parents, neighbors, community leaders, academics, church members, business owners, etcetera. This is the most frightening aspect of it all.”

The KKK has a long history of violent acts and intimidation targeting African Americans as well as Mexican Americans, immigrants, gays and lesbians, Jews, and Catholics. Valdez made his City paintings in response not only to the Klan, however, but also to the structural racism embedded in American cities and their design.

The City I and The City II can also be understood as contemporary history paintings. Instead of responding to or commemorating a specific event, Valdez examines American history through a wider lens, looking at the ways that the past continues to inform the present. In doing so, he enters into dialogue—direct and indirect—with centuries of artists, writers, and musicians who have dealt with questions of identity, fear of the “other,” and the threat of violence. The inscription found in the lower-right corner, “For GSH and PG,” reveals two sources that helped inspire the work: Gil Scott-Heron’s powerful 1980 song, “The Klan,” and Philip Guston’s City Limits, a 1969 painting of cartoonish Klansmen that captivated Valdez when he saw it in an exhibition at the Blanton in 2015. “I am interested in the idea of this subject spanning three artists of diverse backgrounds and different generations,” Valdez explains. “How many more generations of American artists will need to tackle the subject of the Klan?“

A separate, single canvas, The City II (2016), depicts a pile of mattresses amidst discarded trash next to a smoking steel drum. According to the artist, this painting is a symbolic representation of The City I. Reminiscent of Spanish painter Francisco Goya’s early nineteenth-century depictions of mounds of corpses, it metaphorically suggests that the city—and by extension, American society at large—continues to be in limbo.

As the author James Baldwin reminds us, “Not everything that is faced can be changed, but nothing can be changed until it is faced.” Valdez’s paintings encourage us to face this group and ask ourselves: Who exactly are “us” and “them”? Have things really changed or not? Valdez elaborates: “This is where we find ourselves in twenty-first-century America: stuck in an endless stare-down.”

Organized by Veronica Roberts, Curator of Modern and Contemporary Art, Blanton Museum of Art

The City was acquired for the Blanton’s permanent collection with support from Guillermo C. Nicolas and James C. Foster in honor of Jeanne and Michael Klein, with additional support from Jeanne and Michael Klein and Ellen Susman in honor of Jeanne and Michael Klein.

Major funding for the Contemporary Project is provided by Suzanne McFayden.

Image Credit
Vincent Valdez, The City II, 2016 (detail)
Oil on canvas, 74 x 90 in.
Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Guillermo C. Nicolas and James C. Foster in honor of Jeanne and Michael Klein, with additional support from Jeanne and Michael Klein and Ellen Susman in honor of Jeanne and Michael Klein, 2017

Photo by Peter Molick, courtesy the artist and David Shelton Gallery, Houston

Rev. of Natalia Sylvester’s Everyone Knows You Go Home

I just purchased this book last weekend so the timing on this review by Elliot Turner is perfect!—everyone-knows-you-go-home–latino-book-review.html


​The Rio Grande Valley and two harrowing tales of immigrants’ sacrifice serve as the key ingredients in Natalia Sylvester’s compelling sophomore novel.

On the day of their wedding, Martin and Isabel are visited by the spirit of Martin’s long disappeared father. He then visits Isabel annually and slowly reveals secrets from Martin’s past—things Martin has hidden and things hidden from Martin. Still, this tale is neither speculative fiction nor magical realism—it’s a moving domestic novel.

The plot speeds along quickly thanks to short chapters which alternate between the present, Martin and Isabel’s nascent marriage, and the past, the arrival of Martin’s family to the US. Unexpectedly, a young relative of Martin shows up, is undocumented, and asks them for help. They give him lodging, enroll him in high school, and over time they form a family unit. Things take a dark turn, though, when Martin’s mother gets gravely ill. Also, the constant concern and worry about Martin’s relative, who could be stopped and deported seemingly on a whim, also weighs on them. 

Sylvester immigrated to the US from Peru, but has done a great job writing about the Mexican and Mexican-American population on both sides of the border. No character feels pigeonholed by stereotypes. Also, the book’s detailed accounts of undocumented immigration, such as a stash house that feels more like a prison, unflinchingly portray the reality of dangers faced by immigrants in a way that humanizes suffering.

Everyone Knows You Go Home is a gripping tale of family love, sacrifice and secrets revealed. 

Natalia Sylvester is the author of Chasing the Sun, her fiction debut. She is a freelance writer who lives in Austin, Texas. 

Everyone Knows You Go Home is published by Little A. Click here to purchase.


Reviewed by
Elliott Turner​
Elliott Turner is the author of The Night of the Virgin, one of “the top ten fiction books of 2017” according to His writing has appeared in The Guardian, Atticus Reviews, VICE, Fusion, SplitLip Mag, and Transect Magazine.

Displaced Artists Fund Fellowship

For the original post, click here:

Artists from Texas, Florida, Puerto Rico, & the Caribbean
Displaced by the 2017 Hurricane Season 


U.S. Artists Displaced by 2017-2018 Wildfires

You are eligible for a Displaced Artists Fund Fellowship supported by the Pollock-Krasner Foundation!

Pax Cultura symbol hung outside the VSC Red Mill

5 fellowships will be awarded

Each fellow will receive:

  • 4-6 week studio residency with a private room, private studio space, and all meals
  • Additional funds to assist with travel, materials, and/or shipping are also available

To begin the application process, simply reply directly to this email with the following information:

  • The nature of your displacement
  • The nature of your artistic practice
  • Why a residency would be helpful at this time

There is no fee to apply!

If you need more information about this program or have specific eligibility questions, please don’t hesitate to get in touch.

Please share this message and spread the word to anyone you know who might be eligible for these awards!

Wilmer Valderrama Set to Produce Series About Mexican-American WWII Heroes

For the original post by Kristen Lopez, check out Remezcla:

With Independence Day just having passed, many reflected about how the holiday – alongside Memorial and Veterans Day – seems to solely focus on Anglo-Americans who lived and fought to make the country what it is. In 2014, author Dave Gutierrez self-published Patriots From the Barrio, a thoroughly researched story about the Mexican-American men who fought in the Thirty-Sixth Division, 141st Regiment, Second Battalion, Company E during WWII; most of whom were from El Paso.

Towards the end of 2017, Deadline reported that Venezuelan-Colombian actor Wilmer Valderrama had secured the film and TV rights to Gutierrez’s book with the intention of developing it. When asked about the project Valderrama stated, “I’m honored as a proud Latin American to amplify the courage and contribution of these incredible men.” Earlier this year, during a series of speaking engagements Gutierrez went on to promote the novel, it was revealed that the actor’s production company WV Entertainment is leaning towards turning the book into a series.

The war feature, whether it be television or film, is still an incredibly white-centric story with Latinos and African-Americans often playing cursory characters. Gutierrez’s book seeks to open up the kinds of stories we associate with war, showing us the men who sacrificed much and just happened to be Latino. Development takes time, so here’s hopingWV Entertainment is actively working on this to give audiences something new to watch in the near future.