At the beginning of August, GSD&M stopped by the Serie Project to shoot some video for a special series they’re producing as part of their client newsletter. From agency t-shirts to event posters to client projects for L.L.Bean and eHarmony, the agency has been earning its way into the silk screen scene in Austin.
GSD&M is in the process of filming a behind-the-scenes piece (see image gallery below) on Austin’s silk screening community to feature on their website and share with their employees. They’ve interviewed local silk screen shops including Coronado Studio/Serie Project, Sanctuary, Nakatomi and Industry Print Shop about the process behind the age-old art form.
They’ve also invited some local artists to feature some of their favorite handmade, silk-screened rock posters in a gallery exhibit (September 17 – October 15) in the GSD&M lobby, in honor of the ACL Festival.
FOR IMMEDIATE RELEASE
Serie Project Contact: Kelly Grajeda, Asst. Director (P) 512.385.3591 | (E) firstname.lastname@example.org
Press Contact: Alexandra M. Landeros, Roots PR (P) 512.517.0394 | (E) email@example.com
Serie Project Reaches Twenty Years and Hopes for a New Beginning
Fundraiser for East Austin Screen Printing Studio on November 17, 2012
AUSTIN, Texas – October 10, 2012 – To ensure that the Serie Project can continue with its mission, the team of board members, staff, and interns are holding a fundraiser at the Emma S. Barrientos Mexican American Cultural Center on November 17, 2012. They are actively searching for sponsors and silent auction donors who can help the Serie Project get to a new beginning in 2013 and continue the annual Artist in Residence program into its 20th series.
Because the Serie Project is based in Texas, Cervantes decided to focus on a piece by a famous Tejana, Gloria Anzaldúa, for her serigraph. “I chose to include this portrait of Gloria because she was a groundbreaking thinker of Chicana/lesbian/feminist theory,” explains Cervantes.
Anzaldúa helped promote literature and writing by women of color in the United States, was the co-editor of the book This Bridge Called My Back: Writings by Radical Women of Color, and is best known for her book Borderlands: The New Mestiza = La Frontera. She made major contributions to Chicana feminist and queer theory and was a major inspiration to Cervantes.
“She died in the summer 2004 at her home in Santa Cruz and I wanted to do something to honor all she contributed to the world during her life,” says Cervantes.
“The City of Austin has announced the allocation of its fiscal year 2013 Cultural Arts Funding Program awards. Notable for diversity, and many small grants to specific, quirky projects, either directly or through a broad-minded sponsored project option, the long list is cumbersome to untangle, but interesting,” says Bill Davenport, author of the article.
He adds, “It’s nice to see that the authorities handing out the handouts apparently see the value in crazy projects as tourist attractions. Maybe, lacking competition from the finely-tuned development departments of major museums, smaller visual arts orgs find credibility easier to come by?”
Thank you to the City of Austin Cultural Arts Division for their consistent support of the Serie Project throughout the years!
“We didn’t expect something as broad as this,” says Dr. Romo. “We felt that we had devoted a lot of time and effort into collecting it, and we appreciate that someone could look at this and say that this is important to this community and beyond.”
Born in El Salvador in 1978, Osvaldo Ramirez Castillo immigrated to Canada in 1989 as a result of the 12-year civil war in El Salvador. He attended the Ontario College of Art and Design (Toronto 1998-2001) and received an MFA from Concordia University (2004-2007), and he currently lives and works in Montreal, Canada.
Castillo’s allegorical drawings explore issues of collective memory, cultural identity and historical trauma. Using the body as a symbol and site for trauma, his work is engaged with the possibilities of narrative manifested in personal iconography.
Below is an interview during his residency at the Serie Project in the summer of 2012:
How would you describe the imagery in your print?
“I’ve developed a personal repertory of imagery over the years. My idea has always been to fuse my cultural background with my personal background. I’ve revised this imagery, and I keep recycling my own imagery – I’ve arrived at a personal iconography, in a way.
On Saturday, November 17, 2012, we will be having our first annual fundraiser. You can read the official description of the event here, but we’d like to give you the real reasons we’re having this fundraiser.
Sam Coronado started this non-profit in way East Austin (the Montopolis neighborhood), long before it became hip to live here, back in 1993. He envisioned a workshop where artists could benefit from collaboration and learn the serigraphy technique in a positive, encouraging, intimate, apprenticeship-type setting, and where affordable printmaking services and fine art prints could be made available to the community.
Because of Sam’s vision and tremendous dedication, the Serie Project has fostered over 250 artists to produce a rare collection of serigraphs, launching many of them into successful creative careers.
Ruth Buentello is a first generation Chicana – her parents are from Piedras Niegras, a border town in Mexico. She grew up speaking Spanish and still does at home, holding on strong to her Mexican roots. Much of her work depicts family relationships. “That’s what I know best,” she says. “I don’t know anything else but my family and living with them.”
Her work often features her mother and father, and the relationship that they have – illustrating his masculinity and her femininity. In the video interview below, Buentello highlights a piece called “Under the Colchas,” in which her mother is laying down on the bed, and her father is sitting at the foot of the bed, wearing his cowboy hat.
Although Buentello draws from traditional Chicano/Mexican experiences, the way she expresses the themes in her artwork is contemporary and sometimes experimental. Together with the San Antonio based Chicana art collective, Más Rudas, her work takes on the form of bold installations and collage murals. On their Facebook page, they state they are “brown and proud” and “archiving our history, who else is gonna do it?”
To inquire about purchasing the screen print she produced as part the Serie XIX Artist in Residence program, Baby Daddy, please contact firstname.lastname@example.org.
Click on “more” to see the interview video and read the rest of the article…
From September 25, 2012 through January 27, 2013, the McNay Art Museum in San Antonio is featuring the exhibition “Estampas de la Raza: Contemporary Prints from the Romo Collection,” celebrating the recent gift to the McNay of works from the collection of Harriett and Ricardo Romo. Because the Romos have been ardent supporters of our organization, a large portion of the collection consists of Serie Project prints.
This survey of Mexican American and Latino printmakers chronicles the late 1960s at the outset of the Chicano Movement to the confident expressions of the 2000s. More than 60 prints by 44 artists reveal the richness of a mixed cultural heritage, with depictions of Frida Kahlo, lowriders, the Statue of Liberty, tattoos, and the Virgin of Guadalupe.
Organized thematically in five sections, both the catalogue and the exhibition focus on aspects of the Latino experience in the United States: the identity of individuals striving to define themselves; the Chicano Movement’s struggle to achieve economic, political, and personal equality; tradition, memory, and culture in the everyday lives of Latinos; icons that serve as guideposts; and other voices revealing the complex and ever-changing directions Latinos choose. Many images are larger than life, serving up a colorful, visual feast.
Read more about the story behind the Romos’ history of art collecting – on the McNay Art Museum website.