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Carlos Hermosillo Ă lvarez and Colin Matthes: Echoing Concerns
With an essay by Christopher Willey The Charles Allis Art Museum 03.16.17 - 06.25.17
Carlos Hermosilla Ă lvarez Echoing Concerns
CHARLES ALLIS ART MUSEUM
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Walt Whitman Carlos Hermosilla Álvarez c. 1950 Woodcut 16 1/4 x 12 inches
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La Embarazada (Pregnant Woman) Carlos Hermosilla Álvarez n.d. Woodcut 17 x 10 5/8 inches
Tejedora Mapuche (Mapuche Weaver) Carlos Hermosilla Álvarez n.d. Linocut 8 x 7 inches
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Construcción (Construction) Carlos Hermosilla Álvarez c. 1931 Linocut 11 1/2 x 7 3/8 inches
Joven Mapuche (Young Mapuche Boy) Carlos Hermosilla Álvarez n.d. Linocut 7 1/8 x 6 inches
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Vuelta de la Pesca (Returning from Fishing) Carlos Hermosilla Álvarez n.d. Linocut 8 x 7 3/4 inches
El Niño Herado (The Hurt Child) Carlos Hermosilla Álvarez n.d. Etching 5 x 3 1/4 inches
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Florence Nightingale Carlos Hermosilla Álvarez n.d. Woodcut 8 x 7 3/4 inches Edition 16 of 30
El Ascensor, Valparaiso (Elevator, Valparaiso) Carlos Hermosilla Álvarez n.d. Woodcut 15 5/8 x 7 1/2 inches Edition 15 of 30 *accompanied by poem
El Niño del Trompo (Boy with Top) Carlos Hermosilla Álvarez c. 1970 Woodcut 22 x 16 3/4 inches
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Gabriela Mistral Carlos Hermosilla Álvarez n.d. Engraving 16 1/2 x 11 3/4 inches
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Violeta Parra Carlos Hermosilla Álvarez n.d. Engraving 10 3/4 x 7 3/4 inches
Dario p. 20 Rubén Carlos Hermosilla Álvarez 1950 Linocut 15 x 10 7/8 inches
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Gabriela Mistral Carlos Hermosilla Álvarez c. 1960 Woodcut 19 x 16 inches
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Neruda Carlos Hermosilla Álvarez c. 1956 Woodcut 11 5/8 x 7 5/8 inches
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Viejo Campesino (Old Peasant) Carlos Hermosilla Álvarez c. 1970 Woodcut 15 1/2 x 11 3/4 inches
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Gabriela Mistral Carlos Hermosilla Álvarez c. 1960 Engraving 11 1/2 x 7 1/2 inches
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Victor Jara Carlos Hermosilla Álvarez 1976 Linocut 15 1/8 x 12 7/8 inches
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Niño del Muelle (Young Boy of the Dock) Carlos Hermosilla Álvarez n.d. Linocut 4 1/4 x 4 1/4 inches
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La Cerca (The Fence) Carlos Hermosilla Álvarez 1959 Etching 13 3/4 x 17 1/4 inches
en Playa Ancha, p. 28 Caserio Valparaiso (Public Housing in Playa Ancha, Valparaiso) Carlos Hermosilla Álvarez n.d. Etching 19 1/8 x 12 3/4 inches Edition 10 of 20 Barranca p. 29 La Carlos Hermosilla Álvarez 1973 Linocut 11 5/8 x 13 1/8 inches Valparaiso p. 30 Caserio, (Small Group of
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La Pirca (Dry-stone Wall) Carlos Hermosilla Álvarez n.d. Etching 13 3/8 x 14 inches Edition 15 of 20
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Patio y Caserio, Valparaiso (Patio and Small Group of Houses, Valparaiso) Carlos Hermosilla Álvarez n.d. Etching 18 1/2 x 12 1/2 inches Edition 13 of 20
Esquina, Valparaiso p. 33 La (The Square, Valparaiso) Carlos Hermosilla Álvarez n.d. Etching 18 1/2 x 12 1/2 inches
Houses, Valparaiso) Carlos Hermosilla Álvarez n.d. Linocut 6 3/8 x 3 7/8 inches Edition 10 of 30
We thank Milwaukeean Liliana Hermosilla Rosenthal and her family for loaning her uncle Carlos’ work to this exhibition.
Hermosilla and his wife Marina Pinto in his studio.
Carlos Hermosilla Álvarez
El Ascensor El ascensor sube y baja sesgando Valparaíso desde la mar hasta el cielo pulsando ritmos marinos entreverando jornadas de escalones vespertinos por floreadas ventanas y pañales florecidos El ascensor va estirando sus dos rieles encendidos con sus tirantes de acero y sus vagones transidos pese a su visión de cielo y a su forzado camino el aire le traza alientos y le trasiega un destino
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El ascensor por la noche resplandece con sus vidrios llevando amores cansados y silencios mortecinos pero hace señales falsas con simulados hechizos a satéllites sin rumbo y algunos astros perdidos. Mas también poco a poco fingiéndose el distraído ha recubierto de estrellas Valparaiso dormido estrellas vivas tan claras que aclimataron su brillo y aquí dejaran para siempre titileo cristalino. El ascensor siembra vientos y contrae compromisos con el sur y con el norte para airier patinillos
engalanados de blanco decorados por las suspiros de las mujeres que lavan y los coros de los niños. El ascensor es un asno a celeste arnés uncido mas al ver el mar lejano quiere lanzar un balido
The elevator with it’s glass shines at night carrying tired lovers and dying silences but makes false signals with simulated magic to satellites without aim and some lost stars.
trata de cambiar su viaje par un vuelo incontenido y navegar par las alas hacia confines ardidos.
Even though little by little Feigning absent mindedness Valparaiso sleeps embraced by the stars vibrant stars so clear whose rays converge and here leaving forever translucent twinkling.
The Elevator The inclined elevator ascends and descends Valparaiso from the sea to the sky sensing the rhythms of the waves overseeing the efforts of the early morning steps through flowering windows and beautiful diapers. The elevator moves extending it’s two energized rails hanging from steel suspenders and it’s anguished wagons in spite of it’s view of the sky while enduring it’s forced route the air breathes promises envisioning another destiny.
The elevators sows winds and engages in commitments with the south and the north in order to air tiny yards adorned in white decorated by the sighs of women washing their clothes and the chorus of children’s voices. The elevator is a mule tied to a celestial harness and upon seeing the distant sea wishes to throw a bray tries to alter it’s route for an unconfined flight and navigates with the waves towards yearning horizons
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Las Embarazadas Entre el fragor de la calle serias van pasando las jóvenes preñadas silenciosas y lentas hablan de vez en vez y sonríen pensando en la misión solemne que las mantiene atentas. Las manos sobre el vientre que a poco va pesando. imponiéndoles mandatos que sus pasos orienta un aura las envuelve que las va amparando y en sus pechos la leche del primor fermenta. El paso es lento y suave que las lleva al misterio y al cambiar impresiones abriendo sus fervores sienten que les canta virginal ministerio. Junto a si ven los hijos con divinos primores y al florecer sus manos con maternal amor les refulgen los senos como estrellas en flor
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The Pregnant Women Amid the clamor of the streets the young pregnant women walk by silently and slowly speaking once in awhile and they smile thinking of the solemn mission that draws their attention. Their hands on the womb that gradually gets heavier imposing orders that guide their steps a surrounding aura protects them and in their breasts the milk of tenderness ferments. The step that carries them to mystery is slow and gentle and as they exchange thoughts expressing their marvel they feel virginal ministry singing. At their side they see the children with divine tenderness and as their hands bloom with maternal love their breasts glow like stars in bloom.
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Colin Matthes Echoing Concerns
CHARLES ALLIS ART MUSEUM
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Matthes in his studio with daughter Photograph by Makeal Flammini
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IT’S PERFECT Colin Matthes 2015 Ink on paper 12 1/2 x 9 1/2 inches
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No Swimming Colin Matthes 2014 Gouache and ink on paper 27 1/2 x 41 1/2 inches Personal Continuous Evacuation Dwelling Colin Matthes 2012 Acrylic, ink, and watercolor on paper 29 1/2 x 21 inches IDK Colin Matthes 2015 Gouache and ink on paper 22 1/4 x 17 inches
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Awkward Militia Members Colin Matthes 2016 Ink on paper 12 1/4 x 9 inches
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Representation of a Sun Colin Matthes 2014 Gouache, ink and watercolor on paper 19 7/8 x 27 3/8 inches
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Message Carriers Colin Matthes 2014 Gouache and ink on paper 29 x 21 inches
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Omega Burger Colin Matthes 2015 Ink on paper 34 1/2 x 48 inches *not featured in the 2017 exhibition at Charles Allis
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The Engineering of a Disaster Proof Building Ink on paper 21.75x31.5in 2012
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Men Fighting One Colin Matthes 2015 Gouache and ink on paper 14 x 18 inches
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Watch This Colin Matthes 2015-2017 Hardware, lights, oil on canvas, plexiglass, vinyl and wood Dimensions variable
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The Forest Colin Matthes 2015 Ink on paper 68 x 44 1/2 inches
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Two Cranes Colin Matthes 2012 Ink on paper 22 1/2 x 32 3/4 inches
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Night Work Colin Matthes 2015 Ink on paper 28 3/4 x 21 1/4 inches
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The Victors Take the Gods I & II Colin Matthes 2017 Ink on paper 23 1/2 x 16 1/2 inches
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February 2017 A & B Colin Matthes 2017 Backlit signs 31 x 20 inches Studio installation view
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Knocking Together: Carlos Hermosilla Ă lvarez and Colin Matthes + Curatorial Statement
Knocking Together: Carlos Hermosilla Álvarez and Colin Matthes
then generate discourse and exhibitions that contextualize and frame both the artist and their work. And now we, this new audience, have an opportunity to participate within this schema of discourse and exhibition so that we may contemplate, compare, and contrast this art through the lens of the present. “I can feel the weight of an author’s words as though they are on the other end of a thread pulling at me from across time and space.” -Ann Hamilton
“It’s an artist’s duty to reflect the times in which we live.” -Nina Simone An artist’s role is to participate in their society. Paradoxically, they need to stand apart in order to bear witness to events from afar. Their feelings and intentions must coalesce as they conceptualize and craft an empathetic experience. These projects are intended to reflect, critique, subvert, mirror, parody, respond, embellish, and problematize our culture. Through these means, artists produce culturally relevant material that greatly enhances our experiences in the world. Wellcrafted artwork creates a profound connection between the artist and the audience, often surviving cultural paradigm shifts as well as the transferences of time. Art objects remain fixed; however, they are part of a chronology subject to what preceded and succeeded their creation. Those who make and those who look must be careful to draw awareness to the echoing concerns of prior epochs.
The role of a curator is to introduce new ideas by providing a context in which time and space are collapsed, and sympathetic links among like-minded makers are revealed. The intent behind these actions is to facilitate a dialogue between institution, community, artist, and audience. Shana McCaw has accomplished this with her pairing of Chilean artist, Carlos Hermosilla Álvarez and American artist, Colin Matthes in the exhibition, “Carlos Hermosilla Álvarez and Colin Matthes: Echoing Concerns” at the Charles Allis Art Museum, in Milwaukee, Wisconsin. McCaw sees Matthes and Hermosilla as “effective agents of change” who utilize socio-political signifiers in projects that focus on humanitarian efforts.1 The location of the two bodies of work within the exhibition is significant. Rather than integrating the two artists, Hermosilla’s work is showcased in the museum’s foyer and in a gallery on the second floor, and Matthes’ work is inserted into the museum’s marble hall period space and in a second-floor gallery adjacent to Hermosilla’s space. Hermosilla’s catalogue raisonné will act as a cohesive retrospective, while the curatorial conceit of Matthes’ projects is to activate and challenge the spaces in which they are located. This echoes Matthes’ own actions within society.
“We are so lightly here. It is in love that we are made; In love we disappear.” -Leonard Cohen After the passing of a beloved artist, the stewardship of their legacy so often falls into the hands of loved ones. In order to maintain their own memories, family and friends attempt to preserve everything. Texts, both formal and mundane, are saved, photos and videos that give texture to the life of the artist are organized, and the actual work is carefully placed into storage or displayed. Gallerists, collectors, art historians, cultural theorists, and institutions start to collect works from prolific artists. These entities
“The best way to teach people is by telling a story.” -Kenneth Blanchard These two individuals share many commonalities outside of being politically
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the productions of professionals.” He goes on to say, “...we cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to be the game of a futile society, a fallacious parade.” 4
motivated creatives. They are both married to artists, teachers, writers, and both have an array of creative methodologies they can lean upon to express their vision. Both of these individuals, products of their own times and societies, carefully craft messages that critique culture through representations of figures, structures of power, and signifiers of the common experience of the people within their culture. Hermosilla’s entire career was supported by the arts, and Matthes, though mid-career, has easily established himself as a lifelong maker with a full career ahead.
Many of the forms within Matthes’ projects connote the absurdities that abound within culture today. “The word ‘absurd’ here means not ‘logically impossible’, but ‘humanly impossible’, or ‘in any intelligible way impossible.’”5 Matthes’ preoccupation with the elaborate journal-drawings entitled, “Essential Knowledge” allow him to investigate and frame many of the issues society confronts today. This archive of knowledge surrounds and informs all of Matthes’ projects. The Leftist political overtures, anti-war and anti-capitalism images that appear to reject the logical in favor of nonsense hold clear correlations with the Dada artistic movement.6 The artist’s stated interests, on the site justseeds.org, are as follows7:
Matthes recognizes that his work is not about him, but rather his projects exist as stories about us. His methods of making are diverse: protest signs created with the organization Justseeds, exploratory pen and ink journaldrawings, highly designed posters, and gallery and museum projects. Public artworks are another large aspect of Matthes’ creative practice. A fun and interactive example is the remote control demolition derby project entitled, “Green Mini Demo Derby” that occurred at the Energy Fair in Custer, WI. These RC cars utilize a solar panel to charge the batteries inside and have handmade exteriors. Matthes dons a referee uniform while the audience participates by driving these cars into one another on a raised and painted platform that has obstacles.
Anti-capitalism Anti-war Culture and Media Ecology and Animals Education Environment and Climate Global Solidarity Inspiration Labor Migration Police and Prison
Matthes’ father is an electrical engineer. For as long as he can remember, the two have annually installed temporary electric wiring at a small-town county fair.2 These experiences instilled a feisty utilitarian aesthetic that can be triangulated as a pastiche combining art brut, absurdist, and dada. Matthes earned his MFA at the University of Michigan and his BFA at UW-Whitewater, so he cannot be considered an “outsider artist” as the term art brut implies.3 However, the artist Jean Dubuffet states the following about art brut which could easily connect to Matthes’ intentions:
Matthes’ “Essential Knowledge”8 series is generated through a seemingly haphazard mixture of research, writing, and drawing. The themes meander but seem to approach survival, parenting, and politics. This project allows him to explore, research, write, advise others, and draw simultaneously. The significance of this research and informal drawing is the sheer quantity of these blunt, practical, funny, scary, political, and satirical productions. In their own way, they are just as sensitive and hold as much weight as other types of formal writing.
“....authentic creative impulses – where the worries of competition, acclaim, and social promotion do not interfere – are, because of these very facts, more precious than
Carlos Hermosilla Álvarez hails from a culture
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that prizes poetry. And being a sensitive and aware man who was almost unflappable in his creative pursuits meant that he wrote when he wasn’t teaching or making. Below is a stanza from a larger poem called “Entre Los Dedos Del Viento / Through the Fingers of the Wind.”9 High is the window where my heart Looks through It yearns to see the wings of the new day… Each hour is a promising message, Each minute a smile Each second is a petal dancing Each tremor of air a light, a butterfly Each movement of air a light flower… This poem shows his deep love for life, and the preciousness Carlos Hermosilla Álvarez placed on the gift of every second. Hermosilla was dangerously ill in his youth; these medical complications robbed him of two appendages and demanded 18 surgeries before he was 19 years of age.10 Chile had remarkable socialized medicine during this time, and I have no doubt that Hermosilla and his family would struggle if they found themselves in the same circumstances in a country without publicly subsidized health care.11 Luckily for the world, this was not the case. “This experience had a profound impact, and his suffering became a subject of much of his art and poetry. During his lengthy recuperation, he vowed that he would become an artist.”12 A driving force for Hermosilla’s practice has been the trials he experienced, which in turn allows him to more deeply empathize with others. “...I even went down into the mines and saw the terrible labor.”13 Throughout his life, Hermosilla depicted the common human’s hardship through figuration. Somewhere among the sick in the hospital and laborers in the caves, Hermosilla honed his awareness for others. “His [Hermosilla’s] concern with social issues - the plight of the poor, the strength of character of works and peasants - is also a reflection of the period of ferment in which he developed both his artistic tools and his political philosophy.”14
Taking a Punch, ink on paper, 23.5x16.5in, 2015
In terms of an aesthetic, Hermosilla’s niece, Liliana Hermosilla Rosenthal states that “much of the stylistic influence on the art
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Green Mini Demo Derby at the 2015 Energy Fair, Custer, WI. Photo by Devon Cupery.
result, and Augusto Pinochet lead a ‘military junta’ until 1990.17 This political nightmare resulted in the necessity for Hermosilla, a septuagenarian by this time, to go into hiding in the twilight of his years, though his works and actions live on to this day.
itself, including his own, were European.”15 There is a healthy appropriation of the mentality of the New Objectivity movement in the Weimar Republic. This German group of printmakers and artists encouraged public collaboration, action, and sought to characterize their perspectives of public life. All of these troupes were remixed into a Chilean context by Hermosilla. Prints from Max Beckmann no doubt left a large impression on him during his studies and travels through Europe.16 Later in life, these concepts would again resonate while Hermosilla endured a tumultuous political atmosphere.
“Stories move the walls that need to be moved.” -Amy Ellis Nutt If an artist’s role is to participate in their society, then Carlos Hermosilla Álvarez’s life and work demonstrate how to look upon society with empathy, holding up a mirror that celebrates our intellect and laments our toil. In similar fashion, Colin Matthes holds a darkly humorous mirror that highlights the absurdities of society while valuing our natural resources and promoting our communities. Both of these artists are effective agents of change because their projects respond to their society. Artworks like these give hope because they contain carefully crafted stories that have the ability to build new worlds.
The Marxist, Salvador Allende, who was behind the ‘golden age’ of medicine for Chile, played key roles within the government throughout Hermosilla’s life, rising to power as the first democratically elected Socialist in 1970. Sadly, within three years Allende would be deposed in a coup d’état sponsored by the United States and the CIA in an effort to counter socialist ideologies. Allende committed suicide as a
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References 1 - McCaw, Shana. “Carlos Hermosilla Álvarez and Colin Matthes: Echoing Concerns.” Curatorial Statement. 2016. p 1. Print. 2 - Matthes, Colin. “Re: Timely.” Received by Christopher Willey, 25 February 2017. Email. 3- Matthes. “CV.” ColinMatthes.com. http://www. colinmatthes.com/info/ Accessed 4 March 2017. Web. 4 - Jean Dubuffet, “Place à l’incivisme’ (Make Way for Incivism),” in Art and Text, no. 27, December 1987– February 1988, p.36 Print. 5 - Kierkegaard, Søren, C S. Evans, and Sylvia Walsh. Fear and Trembling. Cambridge: Cambridge University Press, 2006. P 17. Print. 6 - “Dada. Tate – Glossary of Art Terms.” Tate.org. uk. http://www.tate.org.uk/learn/online-resources/ glossary/d/dada Accessed 4 March 2017 Web. 7 - “Colin Matthes.” Justseeds.org http://justseeds. org/artist/colinmatthes/ Accessed 4 March 2017. Web. 8 - Matthes, Colin. Essential Knowledge: Vol. 4. “How to take a punch.” 2016. Pen and Ink on Paper. Artwork. 9 - Hermosilla Rosenthal, Liliana and Joel Rosenthal. Carlos Hermosilla Álvarez: ‘Repairing the World’ Through Art and Poetry. Manuscript. Milwaukee. 2015. P. 18. Print.
10 - Hermosilla Rosenthal, Liliana and Joel Rosenthal. Carlos Hermosilla Álvarez: ‘Repairing the World’ Through Art and Poetry. Manuscript. Milwaukee. 2015. P. 10 Print. 11 - Howard Waitzkin, et al. “Social Medicine Then and Now: Lessons from Latin America.” American Journal of Public Health. Volume 91: 10. October, 2001. P. 1592. Print. 12 - Hermosilla Rosenthal, Liliana and Joel Rosenthal. Carlos Hermosilla Álvarez: ‘Repairing the World’ Through Art and Poetry. Manuscript. Milwaukee. 2015. P. 10 Print. 13 - Soria, Bernardo. Interview for El Mercurio. 27 October 2985. 14 - Auer, James. Interview for the Milwaukee Journal, 1975. 15 - Hermosilla Rosenthal, Liliana and Joel Rosenthal. Carlos Hermosilla Álvarez: ‘Repairing the World’ Through Art and Poetry. Manuscript. Milwaukee. 2015. P. 21 Print. 16 - Crockett, Dennis. German post-expressionism: the art of the great disorder, 1918-1924. University Park, PA: Pennsylvania State U Press, 1999. Print. 17 - “Chile: The Bloody End of a Marxist Dream.” Time Magazine. 24 September 1973.
Christopher Willey is an interdisciplinary creative and instructor in Milwaukee, WI. His art practice moves between traditional and new genres and he conceptually focuses on innocence and disaster. He teaches all levels of undergrad and graduate students in digital studio practices, audio and video strategies, and immersive media. Willey is an accomplished lecturer, curator, and author who has exhibited both nationally and internationally.
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Knocking Together
Curatorial Statement
Curatorial Statement Carlos Hermosilla Álvarez and Colin Matthes: Echoing Concerns features the work of two artists working in distant eras, but toward similar goals of drawing attention to societal injustices they witness every day. Hermosilla was an active artist and humanitarian who overcame enormous personal and physical obstacles to become known as “the father of Chilean realist printmaking.” He established the Printing and Drawing Department at the School of Fine Arts in Viña del Mar, Chile, where he was a Professor of Art for approximately 35 years until his resignation following the military coup in 1973. Together with his wife Marina Pinto, herself a sculptor and printmaker, Hermosilla continued to work as an artist and a writer, often writing poetry to accompany his drawings, woodcuts, etchings, and paintings. Carlos Hermosilla Álvarez was an effective agent of change in the Chilean art community where he sought to shift the focus of Chilean art from subjects that appealed to elite tastes to a concern for working-class people and populations considered to be “outsiders.” His subjects include fishermen, construction workers, mothers, miners, and also the Mapuche Indians, a population of native Chilean people who managed to elude the Spanish conquistadors in the 1500’s. The Mapuche remain distanced from Chilean society, and their culture and ancestral lands are still in peril in the twenty-first century. Like Hermosilla, Colin Matthes, a Milwaukeebased artist, makes interdisciplinary work that addresses economic and environmental crisis. He uses bold drawn, painted, and printed imagery that mirrors his environment while also inciting awareness of current
socio-political causes. Though his content is often serious, Matthes considers himself an “engineer of the absurd” who investigates today’s issues from a humorous, critical, and perversely industrious point of view. About his upbringing, Colin Matthes says: “I grew up in an old farmhouse a mile away from a village with three bars, a post office, and the world’s greatest junk parade. Installing temporary electrical wiring at small town county fairs and trailer parks, punk and zines formed the way I make things and view the world. Lately I’ve been bringing my infant daughter too close to bears, making graphics for activist campaigns, working a slew of jobs, and visualizing my own versions of ‘essential knowledge’.” Matthes examines printmaking as a democratized art form that was once preferred as a means of easily and economically duplicating and disseminating images to the public. Though his work references these goals of traditional printmaking, he deftly combines media to address a contemporary tendency toward pastiche and bricolage; a layering of imagery that is a realistic representation of the ways we digest content today. Together, Matthes and Hermosilla open a fresh dialogue with traditional printmaking as a longstanding method of distributing ideas historically rooted in political movements. Though the two are distanced by nearly sixty years, the similarities in their depictions of humanity and the ways we live, suffer, and achieve give us pause to wonder if we’ve come as far as we would like to think.
Carlos Hermosilla Álvarez and Colin Matthes: Echoing Concerns was curated by Shana McCaw, Senior Curator, and Jenille Junco, Assistant Curator and Collections Manager. They were assisted by curatorial interns SolAh Do and Olivia Heckel. Charles Allis Art Museum March 16 – June 25, 2017 Executive Director: John Sterr Board Chair: Stephen DeLeers Curatorial Committee: Melissa Dorn-Richards, Shelby Keefe, Kenneth R. Treis “Knocking Together: Carlos Hermosilla Álvarez and Colin Matthes” was written for this exhibition by Christopher Willey, Milwaukee, Wisconsin, February-March, 2017. We thank Liliana Hermosilla Rosenthal, Joel Rosenthal, Ari Rosenthal and their families for loaning Liliana‘s uncle Carlos’ work to this exhibition and providing biographical and anecdotal information for our catalogue and supporting materials. Copyright ©2017 by the Charles Allis & Villa Terrace Museums, Inc. This catalogue was produced with generous assistance by Kayle Karbowski, Marketing Manager. Catalogue Editors: Shana McCaw and Jenille Junco Designer: Reece Ousey This book is typeset in Gotham and Compacta. Printed by Burton and Mayer.
Ancilliary programming presented in tandem with this exhibition included: Total Essential Knowledge: A Collaborative Graphic Communication Archive, a workshop lead by Colin Matthes An artist’s talk by Colin Matthes Chilean Carlos Hermosilla Álvarez: Repairing the World Through Art and Poetry, a public presentation organized by Liliana Hermosilla Rosenthal and Joel Rosenthal