Scope and Content of Collection
Processing Information note
Title: Self Help Graphics and Art archives
Identifier/Call Number: CEMA 3
UC Santa Barbara Library, Department of Special Collections
Language of Material:
50.0 linear feet
(65 boxes (includes 5 oversize and 3 photo binder boxes), 18 slide albums, and over 600 posters)
Date (bulk): Bulk, 1972-1992
Date (inclusive): 1960-2013
Extensive collection of silk screen prints and slides, as well as organizational records, photographs, and ephemera of the
Los Angeles cultural arts center and studio. Founded in the early 1970s, during the height of the Chicano Civil Rights movement,
by Mexican artists, Carlos Bueno and Antonio Ibaez, and several Chicano artists, including Frank Hernandez and Sister Karen
General Physical Description note:
65 boxes (includes 5 oversize and 3 photo binder boxes), 18 slide albums, and over 650 posters.
Online items are also available
Self-Help Graphics and Art, Inc.
Copyright has not been assigned to the Department of Special Collections, UCSB. All requests for permission to publish or
quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given
on behalf of the Department of Special Collections as the owner of the physical items and is not intended to include or imply
permission of the copyright holder, which also must be obtained.
Self-Help Graphics and Art Archives, CEMA 3, Department of Special Collections, University Libraries, University of California,
Donated by Self Help Graphics and Art, Inc., 1986-2004
Self-Help Graphics and Art, Inc. is a non-profit organization and serves as an important cultural arts center that has encouraged
and promoted Chicano art in the Los Angeles community and beyond.
The seeds of what would become Self-Help Graphics and Art, Inc. were planted in 1970 during the height of the Chicano Civil
Rights movement when two young Mexican artists, Carlos Bueno and Antonio Ibaez and several Chicano artists, including Frank
Hernandez, met Franciscan nun and Temple University-trained Master Artist, Sister Karen Boccalero. Reflective of the contemporary
social and political climate, Bueno and Ibaez were frustrated by the inaccessibility and lack of facilities available to young
Chicanos wishing to develop their talents as artists. The cost of private art schools was prohibitive to most Chicanos. While
it is generally conceded that art is an intensely personal expression that holds no creative boundaries, some in the art world
did not yet accept the concept of a unique Chicano art that would serve as an expression of cultural values. In this context,
they set out to develop a plan that would remedy this situation; a plan that would not only serve the needs of aspiring Chicano
artists, but that would also serve the greater East Los Angeles community.
Long hours of careful planning and canvassing the community for support ultimately paid off. With a grant from the Order of
the Sisters of St. Francis, the trio (who by this time were joined by others interested in serving their cause) were able
to acquire 2,000 square feet of space that had once served as a gymnasium in the heart of East Los Angeles. Its subsequent
conversion into an art studio and gallery enabled the group to open the doors of Self-Help Graphics in 1972. The organization
was so well-received by the surrounding community and by aspiring artists that operations soon outgrew the 2,000 square foot
facility. Continuing the search for funding through public as well as private resources, a grant from the Campaign for Human
Development in 1973 enabled SHGA to acquire an additional 7,000 square feet adjacent to the existing studio and gallery space.
Once Self-Help Graphics and Art was firmly established as an art center, the core members of the group began to think beyond
the walls of the studio and imagine how in addition to developing their own talents and furthering Chicano art, they could
reach out in a way that would benefit the greater East Los Angeles community. Placed in its larger historical context, Self-Help
Graphics and Art's efforts may be seen as a microcosm of the macrocosmic Chicano Power movement of the late 1960s and early
1970s. One of the goals of this movement was to foster an appreciation for Chicano roots. Chicano activists placed an emphasis
on their mesoamerican past rather than on their European Spanish heritage. Many contemporary activists argued that rather
than honoring and preserving this heritage, the dominant Anglo socio-cultural norms were eroding the indigenous culture. Like
these activists, Self-Help Graphics and Art feared that within such an atmosphere, young Chicanos would not only soon forget
their cultural values, but would also develop a negative sense of their heritage and of themselves in light of the Anglo socio-cultural
practices and values being taught in the public school system and disseminated by the popular media.
Self-Help Graphics and Art spent long hours developing and planning ways through which in addition to exposing barrio children
to a variety of artistic media, they could utilize art forms to instill within these children a positive sense of self, community,
and culture. Many of the children that Self-Help Graphics and Art wished to help were either immigrants themselves, or the
sons and daughters of immigrants not far removed from their Mexican past. Since participation in art does not require a sophisticated
command of spoken or written language, art was perceived as an excellent vehicle by which to achieve this end.
While Self-Help Graphics and Art held workshops on its premises to educate neighborhood children (as well as adults) about
art and culture, the sheer physical geography of East Los Angeles isolated much of the target group from their services. In
an effort to remedy this shortcoming, they set out to devise a plan that would bring the art studio to the surrounding community.
In August 1975, following an exhaustive fund raising campaign, Self-Help Graphics and Art instituted the Barrio Mobile Art
Studio. The organization acquired and customized a van for this purpose. This specially equipped van introduced children to
filmmaking, silkscreen, photography, sculpture, batik, painting, and puppetry. Through contract with the Los Angeles Unified
School District, Self-Help Graphics and Art was able to bring its program to various East Los Angeles elementary schools and
thus provide a level of multicultural education in the arts to children who currently had none in their curriculum. The Barrio
Mobile Art Studio program was enormously successful and well-received by students, teachers, school administrators, and civic
leaders. It remained in operation until Self-Help Graphics and Art phased out the program in 1985. Arguably, the Barrio Mobile
Art Studio served as a prototype for the types of multicultural curriculum programs that the Los Angeles Unified School District
would later adopt.
Self-Help Graphics and Art has played an active role in community affairs. Included among these activities are the sponsoring
of numerous workshops and art exhibitions. Ever since 1974 the organization staged the now nationally recognized East Los
Angeles Da de los Muertos Celebration. This holiday, which is traditionally celebrated on November 1 and has its origins in
Mexico, was originally conceived of as a one-time celebration to be staged by Self-Help Graphics and Art. The following year
the community demand for this event was so great that the organization decided to continue sponsoring the annual event. With
support from the National Endowment for the Arts and the National Endowment for the Humanities, the East Los Angeles Da de
los Muertos celebration grew into an event that attracted national attention. The elaborate celebration continued to survive
and thrive not only because of grant money received from numerous public agencies and private foundations, but through the
widespread community support that served as the backbone for producing the celebration. This three day celebration accomplished
some of Self-Help Graphics and Art's goals by educating East Los Angeles residents of their heritage, introducing them to
the creative processes involved in art, and ultimately, helping to build a stronger community. By 1985, the Da de los Muertos
celebration had become so popular among the residents of East Los Angeles that the program could be sustained without the
primary support of Self-Help Graphics and Art. With assurance that others would take up the responsibility for planning and
organizing the event, the organization decided to take a secondary role in staging the celebration. Such a role allowed SHGA
to devote more time and energy to the primary reason behind its founding: furthering Chicano Art and providing a training
ground for aspiring Chicano artists.
Self-Help Graphics and Art has developed a national reputation for the exceptional quality of the screenprints produced by
artists at the facility, while its private gallery, the Galera Otra Vez, also receives much praise and is well-recognized
as an important arena for exhibiting artists' works. With its continued emphasis on advancing Chicano art, Self-Help Graphics
and Art remains one of the most important centers in the country for training Chicano artists.
Scope and Content of Collection
The Self-Help Graphics and Art, Inc. Collection (SHGA) consists of eight series distributed among fifty-seven archival boxes
that occupy twenty-seven linear feet of space. These boxes hold information pertaining to the everyday operation of SHGA.
In addition, the collection contains one hundred twenty-nine silk screens that were produced at the East Los Angeles facility.
There are eight portfolio containers for the silk screen prints. The organizational records cover the years 1960-1997, while
the silk screen collection holds works that were produced between 1979-2013. The collection is arranged in the eight series
Series I: Internal Administrative Records, 1960-1992. Series I consists of seven subseries and is housed in nineteen archival boxes.
Subseries I Correspondence, 1960-1992, is comprised of both incoming and outgoing correspondence. Much of the incoming correspondence (arranged alphabetically
by sender) are letters of support from various public and private institutions. These letters call attention to the valuable
social and cultural benefits provided to the East Los Angeles area as a result of the community activities sponsored by Self-Help
Graphics & Art. Outgoing correspondence (arranged chronologically) largely consists of copies of letters and reports which
were mailed to current and potential financial supporters in an effort to keep them apprised of the services SHGA provided
to the community, as well as to inform them of the successes of its outreach programs. Public relations materials of this
kind were used to acquire future support and to help ensure continued support from those already financially assisting SHGA.
The multitude of outgoing correspondence found in subseries I reflects the tireless efforts of a grassroots organization struggling
to secure funding for continued operation.
Subseries II, Educational Programs, 1972-1992 consists of documents which may be used to trace SHGA's efforts to expose the low-income and otherwise culturally isolated
East Los Angeles community to various types of art media and techniques for producing art. In addition to developing an appreciation
for the arts, the participants in these SHGA- sponsored educational programs were encouraged to use art as means of cultural
expression. Another goal of SHGA's programs was to instill within each participant a sense of pride in his or her Chicano
culture. In addition to housing documents which describe the educational programs implemented by SHGA at local public and
private schools, this subseries consists of information pertaining to the many programs sponsored at locations throughout
the East Los Angeles community, as well as those held at the SHGA Avenida Cesar Chavez facilities. Of particular interest
are the contracts between the Los Angeles Unified School District and SHGA which outlined the policies and guidelines for
services rendered by SHGA to the District. Also of interest are documents which detail the program agenda and goals of the
activities which SHGA developed for the many East Los Angeles schools it visited.
Subseries III, Exhibitions, 1980-1990 consists of loan agreements, print purchase receipts, and documents relating to exhibitions sponsored by SHGA. The organization
has sponsored exhibitions and loaned prints to galleries both nationally and internationally. While the exhibition documentation
represents a small number of the exhibitions actually staged, the materials preserved in this subseries are indeed rich.
Subseries IV, General, 1973-1991 consists of a wide variety of material which is related directly and indirectly to activities of SHGA during the years noted.
Contracts for artworks commissioned by SHGA, minutes of meetings of various Chicano artist organizations, and information
which highlights various Chicano issues on the state and local level are among the most significant holdings in this subseries.
They reflect the social and political climate under which SHGA operated during various phases of its existence. (Minutes of
SHGA staff meetings are found in subseries VI,
Subseries V, Grant Proposals, Reports, and Applications, 1972-1989 is the largest subseries in Series I. The California Arts Council, the Campaign for Human Development, the City of Los Angeles,
and the National Endowment for the Arts figure prominently among the many institutions which provided funding to SHGA. Documentation
of various gifts and grants awarded by these agencies are a large part of this subseries. This subseries includes copies of
applications for funds submitted to various public and private foundations, detailed proposals of the programs for which SHGA
requested funding, and actual contracts between SHGA and various supporters. These contracts reveal the amount of the grant
and detail the provisions of the award. Included in this subseries are a multitude of letters of inquiry from Sister Karen
Boccalero to various organizations requesting information on the types and conditions of grants offered by these groups. Also
included are a number of replies from agencies which rejected SHGA's requests for support.
Subseries VI, Newspapers, Magazines, and Miscellaneous Articles, 1971-1984 primarily consists of clippings which highlight the accomplishments of and services provided by SHGA. Most of the articles
in this subseries deal in general with SHGA's activities and programs. Articles which deal primarily with the Barrio Mobile
Art Studio and the Da de los Muertos will be found in their appropriate series. The clippings in this subseries were originally
found in Spanish as well as English language publications. There are also materials which do not deal directly with the activities
of SHGA, but were housed in the organizational files of SHGA and are retained in this collection at the request of Sister
SHGA subscribed to numerous periodicals which focused on Chicano art and culture. These periodicals, which SHGA kept among
their organizational files for reference, were not produced by SHGA, and because they are among the titles that are already
held by the Davidson Library, they have been removed from the SHGA archives.
Subseries VII, Personnel, 1972-1990, the final subseries in Series I, holds applications, resumes, and other personnel-related documents pertaining to artists
and other staff employed by SHGA. These records, however, provide only an impressionistic view of SHGA's personnel history
and should not be interpreted as a complete collection of the personnel files of all those who were a part of SHGA during
the 1972-1990 period. Such detailed records of a potentially sensitive nature have not yet been made available by SHGA. Included
in this subseries is an incomplete collection of SHGA staff meeting minutes which illuminate the decision making process of,
and issues dealt with, at SHGA.
Series II, Barrio Mobile Art Studio, 1972-1986 (BMAS), is divided into seven subseries and is distributed among twelve archival boxes. Subseries I,
Correspondence, 1974-1986, consists of copies of letters written by teachers and other school officials in the Los Angeles Unified School District
to state and local officials. The letters inform these officials of the Barrio Mobile Art Studio's valuable service to the
district's school children. School employees urged these officials to support SHGA's request for grants from city, county,
and state agencies. Four of the seven folders in this subseries contain "thank you" notes written by school children expressing
gratitude to BMAS staff artists for visiting their schools and for introducing them to various artistic media.
Subseries II, General, 1975-1980, consists of a variety of documents relating to the daily operation of the Barrio Mobile Art Studio program. This subseries
provides a wealth of information on the many schools visited by the mobile studio. Of particular interest are copies of the
worksheets that were distributed to the school children during BMAS visits, as well as the detailed lesson plans developed
by the staff artists. These items testify to the careful planning that went into each mobile studio visit. Also included in
this subseries are evaluations of the program by teachers whose classrooms were visited by the BMAS. These short-answer evaluations
shed light on what the school teachers perceived to be the strengths and weaknesses of the BMAS educational program.
Subseries III, Grant Proposals, Reports, and Applications, 1974-1979, consists of eleven file folders of documents relating to SHGA's efforts to secure funds for the continuation of the BMAS
program. This subseries contains applications to the California Arts Council as well as to local fund-granting agencies. Because
most agencies required that SHGA submit with the grant application information about the BMAS program's operation, the goals
and objectives of the program, and a projected budget, richly detailed program descriptions as well as information about BMAS
operations costs may be gleaned from the documents.
Subseries IV, Newspaper and Magazine Articles, 1976-1978, is the smallest of the seven subseries in Series II. This subseries consists of a selection of articles from English as
well as Spanish language publications. While the majority of these articles survey the history and accomplishments of the
Barrio Mobile Art Studio, there are a few which highlight other SHGA endeavors, such as the Galera Otra Vez, and focus on
SHGA personalities, such as Carlos Bueno and Antonio Ibaez.
Subseries V, Personnel, 1972-1988, is comprised of six file folders and contains copies of various personnel-related documents, such as employment applications
and program evaluation forms. Like the personnel subseries in the series I, there are no files in this subseries which give
detailed information on individual artists associated with SHGA. Included here, however, is a thin file folder with material
that deals exclusively with the career of Carlos Bueno, one of the founding artists of SHGA.
Subseries VI, Photographs, Negatives, and Slides, 1973-1982, is housed in six archival boxes. The vast majority of the photographs in this subseries were taken by SHGA staff members.
These photographs document many of the BMAS visits to schools and artists at work in the SHGA Avenida Cesar Chavez facilities.
Two of the forty-five folders in this subseries consist of photographic prints purchased by SHGA. These are primarily comprised
of photographs of pre-Columbian architectural ruins, sculpture, pottery, paintings, and other artifacts from Latin and South
America. Also included are candid photographs of contemporary indigenous peoples from the regions noted above. The items noted
above served as visual tools for artists wishing to study their cultural roots and incorporate old world techniques and subjects
into contemporary Chicano art.
Subseries VII, Color Photocopies, Flyers, and Invitations, 1977-1978, holds seven file folders of color photocopies and one of flyers and invitations. Many of the color photocopies capture the
activities of artists and children at work at the BMAS and in the SHGA studio. Others are of the works produced by the SHGA
artists. Still others are photographic reproductions of well known pieces of art from a variety of cultures from several periods
in the history of art. Included in this subseries are many color photocopies of photographs of Latin and South American indigenous
peoples. SHGA sponsors numerous activities at its Avenida Cesar Chavez facility and receives a multitude of invitations from
groups and institutions hosting workshops, art shows, and other community activities. Preserved in this subseries is both
a selection of flyers distributed by SHGA announcing activities at its studio, and many of the invitations that it received.
Series III, El Da de los Muertos, (Day of the Dead), 1960-1991, is divided into seven subseries and is housed in six archival boxes. Subseries I,
Correspondence 1974-1987, consists of both incoming and outgoing correspondence and is held in two file folders. The incoming correspondence is primarily
from children to members of the SHGA staff. These are "thank you" letters which were written in appreciation of the staff
for visiting classrooms during the Da de los Muertos holiday season. The one folder in this subseries which holds the outgoing
correspondence consists of three letters.
Subseries II, General 1971-1991, consists of nine file folders. This subseries contains a series of documents (such as applications for parade permits and
insurance contracts) which reflect the bureaucratic processes involved in staging the Da de los Muertos celebration (technically
a private event) on public property. Included in this subseries are copies of the itinerary of activities planned by SHGA
for the Da de los Muertos celebration. Unlike Series II, the General subseries in Series III does not hold extensive or detailed
information on the lesson plans that SHGA staff used when presenting Da de los Muertos to local elementary schools. Curriculum
information of this kind is embedded in subseries III (please see its description for details).
Subseries III, Grant Proposals, Reports, and Applications 1976-1983, is the largest subseries in Series III. This subseries contains twenty-four file folders, most of which hold applications
for federally supported grants. The applications seek support for the Da de los Muertos parade and celebration -- the single
most costly and widely attended event sponsored by SHGA up until 1985 when it discontinued being its primary organizer. Most
of the grant applications in this subseries were to the National Endowment for the Arts (NEA) and to the National Endowment
for the Humanities (NEH). In order to evaluate requests for financial support, both the NEA and NEH required that detailed
reports attesting to a project's past or potential success and cultural value be submitted with the grant application. As
a result of these reports, a wealth of detailed information on the Da de los Muertos celebration may be found in this subseries.
In addition to the detailed curriculum plans which deal with the Day of the Dead holiday that were used by the Barrio Mobile
Art Studio staff, newspaper clippings, photographs, and negatives also accompany the reports and will be valuable to researchers.
Subseries IV, Magazine, Newspaper, Journal, and Miscellaneous Articles, 1968-1991, holds an extensive collection of materials which deal almost exclusively with the Da de los Muertos. Most of the articles
in this subseries were originally featured in Spanish as well as English language publications, however, SHGA also produced
several short articles for publicity and cultural education purposes. These articles are found in this subseries.
Subseries V, Photographs, Negatives, and Slides, 1960-1985, is contained in seventeen file folders. The vast majority of the photographs and slides were taken by SHGA staff members
in an effort to document the festivities of Da de los Muertos celebration. Also included is a sampling of photographs of the
holiday as celebrated in Mexico. See also series V.
Subseries VI, Color Photocopies, Flyers, Invitations, and Posters, 1975-1986, is contained in five file folders. Included in this subseries are photographs documenting activities at the SHGA facilities,
posters and flyers announcing SHGA's upcoming events, and photocopies of SHGA-produced essays that inform potential celebration
participants of the Da de los Muertos historical background and cultural significance. The flyers distributed by SHGA are
in themselves illustrative of the type of art produced by SHGA during the Da de los Muertos celebration.
Subseries VII, Notecards, undated, the final subseries in Series III, consists of two folders of notecards produced and sold by SHGA artists during the Da
de los Muertos celebration.
Series IV, Magazine, Newspaper, Journal, and Miscellaneous Articles, 1963-1991, houses fifty-six file folders of documents which cover a wide variety of topics. Many of the articles in this collection
do not deal exclusively with SHGA, rather, they address East Los Angeles community issues which indirectly affected SHGA.
Others focus on Chicanos at the state, local, and national level. It should be noted that this collection is not limited to
clippings; many of the file folders contain entire periodicals. These range from scholarly journals to other artists' newsletters
and journals, and from community publications (such as social directories) to Chicano popular culture magazines. Included
in this collection are a variety of pamphlets, booklets, and brochures which call attention to a multitude of Chicano concerns
and issues. Of particular interest is a ninety-nine page booklet titled
Art in Education Approach. This work was written by SHGA staff members and published by the organization in 1983. The illustrated booklet describes
in detail the Exemplary Arts Project and the activities and approaches that SHGA developed to use in their elementary school
multicultural education programs. This publication booklet was written to serve as a manual for teachers wishing to use art
in the classroom.
Series V-Photographs, Negatives and Slides, 1920-1991. This series consists of four archival boxes that hold an impressive array of photographs capturing many subjects and spanning
six decades. Additionally there are seventeen slide albums which contain a voluminous collection of visual images. Within
this series are dozens of black and white photographs of members of the Los Angeles Chicano community. Many of these photographs
are not dated, but most of them were presumably taken between 1920 and 1950. Notable among the many photographs of SHGA staff
members in this series are several large, color, glossy prints of artist Linda Vallejo instructing senior citizens how to
paint self-portraits. Unique to the Series V is a collection of several photographs of art shows that were held at SHGA's
Galera Otra Vez. Of special interest in this series are several photographic proofs documenting United Farm Workers' leader,
Csar Chavez, and episodes of the farm workers' movement, as well as an additional set of proofs which show members of the
Chicano student organization, MECHA rallying in protest of the 1978
Bakke v. the University of California Supreme Court decision. Additionally, there are photographs depicting the history of Self-Help Graphics, the Concilio de Arte Popular Meeting,
and Art Exhibition. The series’ prominent feature is a large collection of slides. Housed in 13 albums, these slides provide
visual images of various art works such as assemblage, graphic arts, drawings, indigenous Chicano art, installation art, murals,
paintings, performance and conceptual art, photographs, and sculptures related to the SHGA, and of center activities and programs.
These slides are an unusually rich source of Chicano art and culture.
A separate catalog is available for this slide collection. See Appendices A and B covering the years 1973-2003. Additionally, there are Chicano Muralists slides housed in a mixted materials box.
Series VI, Color Photocopies, Flyers, Invitations, and Posters, 1973-1992, is held in forty-one file folders housed in five archival boxes. Many of the color photocopies picture SHGA staff at work
in the Avenida Cesar Chavez studio while others are of the artists' works. In some cases, the photocopies are mounted on paperboard.
Also included in this collection is a multitude of invitations to community events both sent from, and received by, SHG. This
also includes the Self-Help Graphics Program Overview: The Early Years and GCIC Collection color photocopies.
Series VII-Note Cards, undated Series VII, the last series in the SHGA archives is housed in two archival boxes. This collection of notecards and postcards
consists of cards whose cover designs were created by use of metal plate etchings and through the silkscreen process. While
none of the notecards in this series are dated, the names of the particular artist or artists responsible for their creation
are written on the flap of the glassine envelope in which they are stored. The images depicted on the covers of these cards
range from animals, to humans, to Aztec designs, to abstract drawing. Folder four of box 40 is the only folder in this series
which has postcards. Most of these announce some event sponsored by SHGA. The front of each card possesses an original design
created by one of the many SHGA artists.
Series VIII-Graphic Arts and Poster Collection. Series VIII represents the voluminous serigraph and poster collections in this archive. The collection presently consists
of over 600 serigraphic prints and an posters. Self-Help Graphics & Art is one of the most active and prolific Chicano silk
screen poster workshop collectives in the country. Nowhere is this more evident than in its Atelier Screen Print program,
which began in 1983 to provide emerging artists with the opportunity to practice their creative talents and to help them gain
exposure. The Atelier program has two goals: to bring some of California's best Chicano artists together in a collaborative
atmosphere where they can create fine art serigraphs, and to generate income from the sales of their artwork to help perpetuate
Many of the now-prominent Chicano/Latino artists produced their early work at Self-Help Graphics; such artists include Carlos
Almaraz, Michael Amescua, Barbara Carrasco, Yreina Cervantez, Richard Duardo, Diane Gamboa, Antonio Ibanez, Leo Limon, and
Michael Ponce, to name a few. The silk screen collection is a rich source of documentation and reflects the evolution of the
Chicano art movement. A diversity of themes, including social, political, and cultural issues, are represented in these intense
and personal artistic statements.
There have been three master printers involved in the Atelier program from its inception in 1983 to the present. The first
was Stephen Grace, responsible for producing Ateliers I through VII. His tenure as a master printer with the program is represented
by sixty archival quality limited edition prints by forty-two artists. Grace's successor, Oscar Duardo, is the brother of
the renowned artist and master printer Richard Duardo. In addition to maintaining Self-Help Graphics' high standards of printing,
the former Durado is someone whose talent and commitment has sparked considerable enthusiasm and creativity at Self-Help Graphics.
Duardo’s successor Jos Alpuche, continued Self-Help Graphics fine print-making tradition.
Series IX Sister Karen Boccalero's PhotosThis series contain some of Sister Boccalero's Personal Possessions
Series X Audio and Video FilesThere are 12 audio files ranging from undated to the 1990s, and 66 videos ranging from undated to from 1997-201.
Processing Information note
There are approximately 150 page boxes of materials that have been accessioned and are yet to be processed.
Subjects and Indexing Terms
Art, Modern -- 20th century -- California -- Los Angeles
Clippings (information artifacts)
Mexican American artists -- California
Mexican American artists -- California -- Los Angeles