Agradesco a la Virgincita de Guadalupe el momento he sobrevida las balas de gobiernos en este Mexico mulitrazado
Pistol and Oaxaca map image.
ASARO woodblock, 2006.
Oaxaca, Mex.2006 R.C.M.
(Thanks to the little Virgin of Guadalupe so far we have dodged the government bullets inthismulti-racial Mexico)
No Pais Sin Maiz, No Country Without Corn
ASARO Woodblock 2007
ASARO has done a series of prints regarding corn. Corn was originally domesticated in the Oaxaca Valley. Since NAFTA, imports, including genetically modified corn from the US, have hurt Oaxaca’s rural farms.
Body in the Street
ASARO Woodblock 2007
Campesinos, Obreros, Estudiantes, Maestros Todos Somos APPO
Farmers, workers, students, teachers, We are all APPO
Our Lady of the Barricades
Stencil ASARO, 2008.
Based on the Virgin of Guadalupe, with red bandanna for tear gas.
By another Oaxaca art collective, Arte Jaguar.
This is a “throw-up.”
Pre-printed on vinyl it can be quickly pasted to a wall.
The stencil room at ASARO’s studio.
A smashed bank window, Oaxaca, June 2008.
Portions of ASARO throw-up portraits of disappeared are visible to left and right of window.
New ASARO and Oaxaca Links:
Reed Johnson, the Los Angeles Times Mexico City Bureau Chief, reviewed La Tinta Grita, the exhibition co-curated by Kevin McCloskey.
The Center for the Study of Political Graphics lent UCLA a number of rare ASARO stencil works on paper for the exhibition.
The CSPG collects, preserves, and exhibits posters relating to historical and contemporary movements for social change. CSPG’s mission is reclaiming the power of art to inspire people to action. The CSPG has the largest collection of protest art in the country and some of this work can be seen on their website.
Peter Kuper, artist and graphic novelist just returned from living for two years in Oaxaca. He was there when the turmoil was at its worst. His Oaxaca diaries will be out later this year from the Mexican publisher, Sexto Piso. Meanwhile, samples of Kuper’s dispatches from Oaxaca can be seen here: