Tuesday, June 09, 2026

Artist's Studio: Frank Romero y Los Many

Studio Open House & Sale: Frank Romero and Friends

Michael Sedano

Frank Romero’s studio looks like any other anonymous structure lining the ill-maintained road at the far southern boundary of Los Angeles’ Boyle Heights. I would have missed the address but for a dozen or so mariachi milling about excitedly, and equally excited gente pulling open a chain link gate disappearing into the magical spaces of the artist’s creative lair.

Romero’s neon and wooden sculptures, drawings and paintings cover the walls of the cavernous space. Collectors and connoisseurs recognize Romero’s signature pieces like the palm trees and carruchas installed at The Cheech. Romero himself sits in the joyous surrounds, accepting commissions for on-the-spot creating. 

Numerous artists staff tables and easels displaying their work for sale. One table holds dozens of serigraphs by late master printer Richard Duardo, including several of his iconic Frida Kahlo images. I watch enviously as a visitor gets a bargain print—a slight blemish lowers its cost but not its value.

For many visitors, the highlight of the event is the Plaza de la Raza Mariachi group. High school kids sporting mariachi traje play effectively and several take solos belting out Mexicana hits and a pop hit.






 

Frank Romero completing an on-the-spot commission.






Customer happy with his Frank Romero carrucha


Rubén Esparza with a study for a large scale work

Sunday, June 07, 2026

“Árbol de poesía” by Xánath Caraza

“Árbol de poesía” by Xánath Caraza

 

La integracion de la vida by Juan Chawuk

Árbol de poesía

 

Para La integración de la vida de Juan Chawuk

              

Si los árboles azules diesen poesía

Este árbol sería uno de ellos

 

Si las hojas del otoño fuesen versos

Cuántas cubrirían mis pasos

 

Si los troncos milenarios fuesen lingüística

Este sería el más elaborado

 

Si las semillas del desierto fuesen rimas

Cuántas estuviesen germinando

 

Si el polen amarillo fuese ritmo

La atmósfera vibraría con el viento

 

 

La integracion de la vida by Juan Chawuk

Tree of Poems

 

After La integración de la vida by Juan Chawuk

 

Were blue trees to recite poetry,

This tree would be one

 

Were autumn leaves to be verses,

An abundance would cover my path

 

Were millennium tree trunks to be linguistics,            

This tree would be richly ornate

 

Were desert seeds to be rhymes,

Multitudes would be sprouting

 

Were yellow pollen to be rhythm,

The atmosphere would pulsate with wind

 

 

“Árbol de poesía / Tree of Poems” are part of the bilingual poetry collection Noche de colibríes (Pandora Lobo Estepario Press, 2014) by Xánath Caraza. Translated by S. Holland-Wempe.

 

Xanath Caraza

Art, La integración de la vida, by Juan Chawuk. Cover art by Heriberto Luna.

 

Xanath Caraza

 

  

Thursday, June 04, 2026

The 120th Anniversary of Cananea: A Story of Sacrifice

 

                                                                                       

My grandparents Eusebia Villalobos Gonzalez, Mitic, Jalisco

   
Nicolas Gonzalez, two who ultimately escaped the madness 

      By the first three days of June 1906, Mexican president Porfirio Diaz's stranglehold on power was shaky. Wall Street and American investors were losing faith in the old leader. Thirty-years of Porfirio may have been too much, even for his most fervent followers.  He did much for Mexico during his early reign, bringing in foreign investment to create railroads, electricity, construction, agriculture, much of it, of course, to benefit the foreigners, but over the years, the Mexican people grew poorer, while the rich grew richer.

     Diaz ruled with the proverbial "iron fist," crushing his opposition by punishing them with impunity, locking many of them up in the hellish Belem prison in the slums of Mexico City, where political prisoners in the basement lived in fecal matter and garbage. When the Yaqui in northern Mexico began fighting back about their squalid living conditions and the loss of their lands to foreign interests, Porfirio stopped their rebellion by putting their leaders and men on trains and boats and shipping them off to the hot jungles of the Yucatan where they slaved on henequin plantations, hunted down if they tried to escape, most dying under harsh conditions.

     By 1906, journalists, artists, "thinker", and opposition business and political leaders, fearful of Diaz's sham elections, political corruption, brutal law enforcement methods, had been tilling the soil of disruption, enlightening the public, most of whom were already suffering under Porfirio’s dictatorial rule. In the countryside, anyone loyal to Diaz could do whatever he pleased and those who disagreed were persecuted. Since Diaz paid his loyalists so little in cash, many took their pay by expropriating lands and possessions from ranchers and villagers, while feeling free to kidnap and sexual abuse any girl or woman they chose. If husbands or families fought back, the law and courts turned a blind eye, as most were complicit in the corruption and sexual exploitation, not unlike what, possibly, happened to my own family and the families of many friends.

     Foreign interests controlled much of Mexico through Diaz, especially America’s captains of industry and wealthy entrepreneurs, who owned millions of acres of land, mostly in northern Mexico, as Europeans controlled the land to the south, the petroleum industry in Campeche and the Yucatan. Though there was a law which stated foreigners could not own land within a-hundred-kilometers of the border, Porfirio’s government saw no need to enforce the law. Experiencing the corruption, injustice, and loss of lands, Mexican ranchers and workers had already begun migrating north, suffering enough of Porfirio’s indignities, as some foreign investors questioned the stability of his government.

     William C. Greene had built a mining empire in the Mexican town of Cananea, across from the Arizona border, along with holdings in lumber, railroad, and ranching. The Anglos who worked for Greene lived in the town of La Mesa, according to UCLA historian Kelly Lytle Hernandez, a settlement with a “post office, cemetery, park, school, church, bank, business offices, stores, saloons, a municipal building, and brand-new housing. It was worlds apart from Ronquillo, where Mexican miners” (a skilled trade) “and their families lived in homes slapped together in trash.” Hundreds of miners and their families were dying from “diseases of the pulmonary tract,” a sickness known as ‘miner’s lung,’ as "ribbons of green smoke rained speckles of lead." 

     When Greene had announced he was cutting the Mexican miners pay from 3 pesos-a day, while increasing the American managers and miners’ pay up from $5.00 a day, the workers decided to strike. Mexicans pay was also in "script," which could only be used at Greene’s company store, where prices for goods and food were astronomically high. In such stores, workers often took out loans to buy food and goods, which meant they often owed the store more money than they earned each day. 

     Primed by labor leaders and journalists supporting the cause, on June 1, the miners, dressed in their Sunday finest, approached Greene’s “seven-chimney home” hoping to negotiate better wages and working conditions. They were met by Greene’s impatient and irascible managers, the Metcalf brothers, who, in short, rejected the striker’s three main demands: equal pay with Anglo workers, an eight-hour day, and the opportunity to become managers, or, at least, to negotiate the terms. The Metcalf brothers also rejected any talk of negotiations.

     Two-thousand-strong, the workers demanded to talk to Greene. They were warned if they did not disperse, they’d be hit with water hoses. The miners stood their ground. Greene’s men turned on the hose, and in the chaos, shots rang out. Three miners fell, dead. The Metcalf brothers carried weapons, so it was assumed one of them fired the shots. The miners rushed the brothers with miner’s candle sticks. When it was over, along with the dead miners, lay the Metcalf brothers, miner’s candles sticking out their backs. Greene’s large lumber yard went up in flames, according to Hernandez, “Americans standing at the border 40-miles away, pointed at the sky glowing orange….”

     The miners, hoping for justice, carried their dead to the city hall. Instead, they were met by more of Greene’s armed men who opened fire. The miners ran back to their homes, seeking safety, pursued by Greene’s men who shot them down, by the end, massacring forty-miners, including children. Word quickly spread across the border that Mexicans were slaughtering Americans. William Randolf Herast, known for “yellow journalism,” immediately called it a “race war,” hoping to incite anger among Yankees north of the border and pressing for the U.S. to invade Mexico, which is what he’d always wanted, going back to when the U.S. took Cuba and the Philippines from Spain.

     Vigilantes joined the Arizona Rangers who came seeking vengeance for any American deaths. They had no idea how the events at Cananea had unfolded. When they crossed the Rio Grande into Mexico, they ignored Mexico's sovereignty laws with the U.S. Porfirio Diaz’s brutal rural police force, also entered Cananea, adding to the confusion on the streets. Though, by the end of June 1st, the strike was over, the residue of racism, hatred, and violence had begun. 

     On the 2nd and 3rd, word spread throughout Mexico that the U.S. had invaded the country. As Kelly Hernandez wrote in her book, Bad Mexicans, a term Diaz used for any Mexican who opposed his rule, “Mexico City’s newspaper El Tiempo claimed, “Invasion del territorio nacional  por tropas norteamericanos.” The comment left Mexican wondering if the presidency of Porfirio Dias could not protect the country’s sovereignty from a bunch of vigilantes and Arizona Rangers, maybe it was time for Diaz to go and a new government to take his place.

     The shouts of revolution began. Mexican journalists, opposition politicians, and even some American industrialists, took up the cry, and four years later, Mexico burst into revolution, the first great revolution of the twentieth century, preceding the Russian and Chinese revolutions. It introduced the world to names like Zapata, Villa, Madero, Obregon, Carranza, Flores Magon, Librado Rivera, writers Elisa Acuna and Juana Belen Gutierrez de Mendoza, and novelists Mariano Azuela, and Agustin Yanes.

     It changed the course of history, both Mexican and American, inflicting an estimated million deaths, mostly civilian, on the Mexican people and causing hundreds of thousands of Mexicans to flee north, where they built new lives for themselves and their families, in towns and cities across the American Southwest into Kansas and Michigan. At the time, they were embraced by U.S. industries who welcomed the workers, especially as America would enter two world wars, buttressed by Mexican labor, as well as Mexicans in uniform, many who would make the "ultimate sacrifice" and call the United States "home."

 

Wednesday, June 03, 2026

All of Apolonia


Written by Patty Cisneros Prevo

Illustrated by Mirelle Ortega



*Publisher: Harry N. Abrams

*Language: English

*Print length: 40 pages

*ISBN-10: 1419772848

*ISBN-13: 978-1419772849

*Reading age: 4 - 8 years

*Grade level: Preschool - 3



It’s Apolonia’s birthday, and she can’t wait to celebrate with her teammates and her cousins. Mamá’s rented extra wheelchairs so her primas can join her for a game of wheelchair basketball, and Papá’s making arracheras and tres leches cake for all of her guests.


From two-time Paralympic gold medalist Patty Cisneros Prevo and award-winning illustrator Mirelle Ortega comes a slam-dunk picture book about a wheelchair basketball player and her search for belonging―perfect for fans of Just Ask!

But as the party approaches, Apolonia starts to worry that her two worlds are on a collision course. Her teammates want pizza and ice cream, and her cousins think wheelchair basketball sounds weird. Apolonia wonders if this birthday party is a mistake, but with a little help from Mamá, she realizes that her community wants to celebrate her―every part of her.

In this beautiful story with Spanish words and phrases sprinkled throughout, two-time Paralympic gold medalist Patty Cisneros Prevo and award-winning illustrator Mirelle Ortega explore the fears many kids have about fitting in and recognize the joy of being celebrated for exactly who they are.



Review


"Readers navigating multiple cultural identities will empathize with Apolonia’s conflicting feelings, and disabled readers will welcome the acknowledgment that being disabled in a nondisabled family can be lonely. All will cheer for Apolonia…A heartwarming story of family and belonging.” ―Kirkus Reviews


“A heartfelt, relatable story that celebrates friendship, family, and self acceptance, this picture book offers readers both emotional resonance and strong representation of disability and cultural identity.” ―Booklist




Three-time Paralympian Patty Cisneros Prevo was a member of the U.S. Women’s Wheelchair Basketball Team for 10 years. As captain in 2008, she led Team USA to its second consecutive gold medal after winning gold in 2004. In 2021, Cisneros Prevo was appointed to the Congressional Commission on the State of the U.S. Olympics & Paralympics. Cisneros Prevo’s first picture book, Tenacious: Fifteen Adventures Alongside Disabled Athletes, focuses on 15 individuals with physical disabilities and their major life and athletic accomplishments. 


Mirelle Ortega is a Mexican storyteller and author-illustrator of River of Mariposas and Magic: Once Upon a Faraway Land, for which she received a Pura Belpré Illustrator Honor. She now lives in Los Angeles, California.










Tuesday, June 02, 2026

Farewell to A Fine Art Treasure: ChimMaya at 19

ChimMaya / CM2 Closes After Two Decades Service to the Community

Michael Sedano

The world said good-bye Sunday to East Los Angeles’ celebrated art gallery, CM2 / ChimMaya Gallery. Founders Steven Acevedo and Daniel Gonzalez brought fine arte to East Los Angeles, representation to a community of painters and graphic artists, and affordable masterpieces for the walls of nascent and veteran collectors. Every year was their best year.

La Bloga discovered ChimMaya in 2009 (link). The place was extraordinary for its range of subjects and styles, all within the compass of Chicana Chicano art.

Michael Sedano wrote: 

Today, I'm happy to introduce ChimMaya, a spot of entrepreneurial genius located in eastern East Los Angeles. ChimMaya has the distinction of being one of those rare eastside galleries to have gotten some ink from the Los Angeles Times. Felicidades, ChimMaya.

El Lay gente will find a trip to this Land of Nod (it is at the east of ELAC) well worth their time. Art collectors with a few thousand dollars can pick and choose from a tempting array of genuine bargains in the three shows running concurrently, 16 X 20, Duality, and Frida.

 

This 2009 exhibition occurred in ChimMaya’s original location where it had the luxury of space allowing multiple large shows simultaneously:

In the main and east galleries, Chimaya was opening the 16 X 20 group show featuring 32 artists. The 16" x 20" canvases hang side by side, encouraging comments and comparison of various painters' styles. This wall shows Dolores Haro, Aydee Lopez Martinez, Yolanda Gonzales, Joe Bravo. Opposite wall, not illustrated, contains additional work by Bravo, Gonzales, Ernie Herrera, and other outstanding creators.”


This 2009 La Bloga-Tuesday column’s first impression is echoed in commenter Anita Rehker's experience:

Mr. Sedano's experience at ChimMaya is thoroughly echoed by my own and by friends whom I have taken there. From the moment you enter the front door, beauty in a variety of forms greets you not only through the artists' works, but from every corner of the gallery. The dedication and commitment of ChimMaya's owners, Steven and Danny, is on display throughout. Their obvious respect for the artists is matched by their commitment to the East LA barrio. In my estimation what sets them apart is the heart that they invest in every event. Whether it's a book signing, a music performance, or a new artist's exhibition, I try never to miss it for purely selfish reasons: the art is as provocative as it is uplifting; I meet fascinating people; I have the opportunity to purchase art at a price that is fair to me, to the proprietors, and to the artist. Everyone wins! So thank you ChimMaya for all that you do for the local community and metropolitan Los Angeles. 
Anita Rehker

 

foto:CM2, 2026


La Bloga celebrated ChimMaya’s Eleventh birthday in 2016 (link) when the gallery celebrated with a blockbuster show that forced comparison with ChimMaya’s most popular exhibition, its annual Frida Kahlo tribute. 

But ChimMaya is more than the annual Frida show. Month-in, month-out the gallery brings in work from a solid list of accomplished raza artists. Steven Acevedo, the gallery’s artistic director, has a keen eye for talent and he regularly welcomes emerging artists to display work in one of the four distinct spaces within the gallery.

Rick Ortega, Mario Trillo, Mario Trillo
ChimMaya was a place where artist and collectors could talk about the work and feel no pressure to make a deal.

As I prepare to wrap up my visit—my wife acquired a Frida purse from the ChimMaya boutique—I stop to talk with Cici Segura-Gonzales. Her eight foot panel features the ancient raices of Mexican history, Olmec head, Toltec stele, and screaming tribal gente converging on a grotesque naked tiny-penised Donald Trump. A jaguar opens its jaws to swallow the cowering Trump, who stands in a pool of his own urine. 

No pressure to acquire it; Cheech took one look at it, the artist tells me, and bought it.

Cici Segura-Gonzalez' canvas is immediately purchased by a museum

Gallerists Steven Acevedo and Daniel Gonzalez announced the closing with a powerful month-long exhibition of work exemplifying the gallery’s practice of hanging new names and diverse styles alongside established artists advancing their artistry. 

Bargain hunting collectors weren’t scavenging the walls; ChimMaya prices are (were) affordably low low low. The represented artists, like the gallery, want their work to hang in people’s homes so they don't charge millionaire's prices, it's an inherent compadre discount.

Daniel Gonzalez and Michael Sedano
A few hundred dollars or under $3000 for exquisite quality are bargains already. People line up at the cashier to pay asking price and chatter how they wish they could afford one or two more. The people with two pieces regret passing up that third gem. Sad-eyed gente stand away browsing the $25.00 cases knowing even these are out of range.

ChimMaya tapped an ill-served demand when only northeast LA’s Ave50Studio (link) regularly hosted art shows in the metropolitan area. 

Ave50 remains as “the other” razacentric art gallery on the eastside, with freeway-distant Pomona galleries the next best thing. Casa0101 has a tiny gallery space. Plaza de La Raza hangs large shows intermittently and could take up the slack. 

A ver.


With the farewell to Steven and Daniel, the local art market hovers in limbo between westside galleries who would welcome the traffic--maybe--and what remains to be seen over here east of the LA river.

Ave atque vale, ChimMaya Gallery.



Sunday, May 31, 2026

“Árbol de agua / Tree of Water” by Xánath Caraza

“Árbol de agua / Tree of Water” by Xánath Caraza

 

Art by Israel Nazario

Culebra roja deslizándose hasta mí

Silueta entre la bruma matutina

Sombras moradas la protegen de la luz

Árbol solitario, deshojado

 

Tras de ti están los cráteres rojos

Ojos de culebra que miran

Desde lejos, bajo el agua

Al acecho de una víctima más

 

Aliento de culebra roja

Se desliza entre las olas

Entre el líquido embriagante, trampa de mortal

Ojos que desde el árbol de agua miran

 

 

Arte de Israel Nazario

Tree of Water

 

Red snake slithering toward me

Silhouette in the morning mist

Purple shadows protect it from the light

Lonely tree, leafless

 

Behind you the red craters are

Snake eyes that watch

Under water from afar

Threatening one more victim

 

Breath of red snake

Slithering along the waves

Between the intoxicating liquid, mortal trap

From the tree of water, its eyes watch

 

 

“Árbol de agua /Tree of Water” are part of the collection Corazón de pintado by Xánath Caraza (Pandora lobo estepario productions, 2015)

 

Xanath Caraza

Art by Israel Nazario and cover art by José Jesús Chán Guzmán.

 

Xanath Caraza

Thursday, May 28, 2026

Chicanonautica: Beyond the Borders of the Latinoid Continuum

 


by Ernest Hogan



Okay, I admit it, I’m a visionary. I don’t like to use the word when I describe myself because it gives people the wrong idea about me. Why do so many people think a visionary is a starry-eyed mystic who keeps getting glimpses of better worlds?


Some of us just keep coming up with weird shit.


It’s another side effect of my monstrous nonstop imagination. My brain keeps scrambling things and I look at them and say, “Wow! Things could be different!”


I don’ t necessarily want things to be like my visions, but enjoy imagining what it would be like if they were.


My near-crippling dyslexia is probably to blame, but that’s another ramble . . .

 

It keeps me mentally hopping into other worlds, crossing borders if you will.


I’ve never been one of those Chicanos who want to live their entire lives in the barrio and culture of their birth. I actually think it’s impossible. A Chicano, by definition, lives between cultures. We are new life and new civilizations, a science fiction state of being.


I think it’s always better to color out of the lines and go where you’ve never been before.


What I call the Latinoid Continuum has sketchy borders. 


The Americas have a Latinoid majority. “Latin” America was coined by the French, envisioning a hemispheric empire with a francophone elite–yeah, Cinco de Mayo . . . I have appreciated what Latinx students from the East bring to the class. Why are we so limited by the borders of the U.S. of A?



Yeah,  crossing borders.


We need communication, alliances, and collaboration not only with our non-Mexican, “Latin” hermanxs beyond Aztlan territory—but the rest of the planet. 


Why not turn it all upside down and claim Spain as part of the Global Barrio? Scott Russell Duncan took Xicanxfuturism to Spain—a good start. We need a beachhead in Europe . . . A gateway to Africa, the Middle East, and Asia.


And why not adopt the Philippines while we’re at it?


Does it get a little closer to a Galactic Barrio? 


Maybe then the WorldCon/World Science Fiction Society and SFWA will finally recognize that Mexico, and all of Latin America, exist.  Will we ever see a convention on the border? Could such a thing happen without causing diplomatic or even military chaos?


We seem to be hurtling into the multiversal crossroads . . .


Does bullfighting have a future? It is alive and well and living online. Gotta be careful where I mention it, though. Some of these animalistas get crazy when confronted with certain realities. I’m going to write my novel about it anyway.


I’m remembering the Zimmerman Telegram, 1917, World War I, German offering Aztlán back to Mexico if they conquered the U.S.A. That would have spawned an interesting alternative universe.


Meanwhile, there’s Sergio Gaut Vel Hartman in Buenos Aires, Argentina publishing fiction by authors from all over the Earth in Spanish and English on his blog, Microficciones y Cuentos. Can it bring us together?


Don’t ask me, I’m just another member in the international conspiracy of mad dreamers, having wackadoodle visions.



Ernest Hogan, Father of Chicano Science Fiction, is getting ready to teach his “Gonzo Science Fiction,Chicano Style” class again.