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Mexic-Arte Museum in Austin begins Día de los Muertos celebration

The Downtown Austin museum's event is the longest-running "Day of the Dead" celebration in Texas.

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Newsletter: Is there any way to escape Houston floods?

Newsletter: Is there any way to escape Houston floods?

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Art collective Motherling joins with curator Isabel Servantes for exhibition of women collage artists

Early last year, young artists of color and longtime besties Sealia Montalvo and Crisa Valadez decided to take their friendship to the next level with...

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Catrina Mania III | Glasstire

Ruben Cordova dissects the popularity of artist José Guadalupe Posada's Catrina image in art and popular culture.

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6 Texas Towns To Celebrate The Day Of The Dead

Day of the Dead is an annual festival where mourning and celebration are united, and six Texas towns go all out to promote this event.

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Artist José Villalobos shines light on a gay bracero in new Artpace exhibition

Posted
By Bryan Rindfuss
on Fri, Jan 29, 2021 at 8:30 AM
click to enlarge
Bryan Rindfuss
A reimagined barrack for braceros anchors José Villalobos’ new Artpace exhibition “De los Otros.” Protesting “the toxicity of machismo” has become a common thread in the work of José Villalobos, an El Paso native who draws creative inspiration from his experiences as a gay man who grew up in an evangelical Christian family embedded in the norteño culture that pervades the U.S.-Mexico border.
After relocating to San Antonio, Villalobos enrolled in a fine arts program at UTSA and earned his BFA in 2016. The same year he graduated, he was among five local artists invited to participate in the Guadalupe Cultural Arts Center’s Artist Lab, a development program facilitated by the New York-based Surdna Foundation. Titled “De la Misma Piel (Of the Same Skin),” Villalobos’ portion of the resulting show comprised tooled leather belts printed with homophobic slurs in Spanish (“jotito,” “mariposa” and “maricón” among them), ornate belt buckles that together spelled out “joto” and paintings of famed Mexican crooner Vicente Fernandez on scraps of leather. In addition to the defiant reclamation of derogatory terms hurled at homosexuals, “De la Misma Piel” introduced multiple themes that continue to distinguish Villalobos’ work: subversion of masculinity, pointed use of text, interventions on vaquero attire and nods to Fernandez — an icon capable of making even macho men cry.

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