Sour Grapes: From Street to Studio by University of Texas at San Antonio

Sour Grapes: From Street to Studio

Sour Grapes: From Street to Studio Eddie Castro, Arturo Donjuan, Carlos Donjuan, Emily Donjuan Miguel Donjuan, Ricardo Oviedo, Isaias Torres Curated by Scott A. Sherer, Ph.D.

Sour Grapes: From Street to Studio The University of Texas at San Antonio July 2 - July 30, 2014 This book has been published in conjunction with the exhibition Sour Grapes: From Street to Studio at The University of Texas at San Antonio Art Gallery. Curated by Scott A. Sherer, Ph.D. ISBN: 978-0-09831130-7-2 Curator: Scott A. Sherer Assistant Curator: Liz Paris Portraits: Johnny Lucio Additional Photography: Sour Grapes Designer: Willie Sanchez

Major support for this exhibition is generously provided by:

The Elizabeth Firestone Graham Foundation

Elizabeth Huth Coates Charitable Foundation of 1992

Front cover: Jefferson Viaduct, Dallas, 2014 Back cover: Paleta Wall, Western Park Convenience Store, Dallas, 2011 2

Sour Grapes Open Studio, 2012

www.sourgrapes13.com

Sour Grapes, D Town Mufflers, Dallas, 2013

Introduction Hopp’s Corner Store Texaco Gas Station Tire Shop Matt’s Muffler Shop Davis Street Collective Bargaining Belmont Hotel Jefferson Viaduct

5 10 12 14 15 16 18 20 23

Eddie Castro Arturo Donjuan Carlos Donjuan Emily Donjuan Miguel Donjuan Ricardo Oviedo Isaias Torres Exhibition History and Bibliography Acknowledgements

26 30 34 38 42 46 50 54 56

The Sour Grapes Crew. (left to right) Isaias Torres, Emily Donjuan, Carlos Donjuan (front center), Ricardo Oviedo (back center), Eddie Castro, Miguel Donjuan, and Arturo Donjuan

Sour Grapes: From Street to Studio By Scott A. Sherer

Carlos Donjuan with early train work, West Dallas freight yard, 2001

Across rural expanses, through suburban sprawl, and amid the congestion of urban areas, trains have long held the promise of exploration. At start and finish and at every pause along the track, trains link a history of places. Graffiti artists have long recognized that railcars offer a surface for painting and that tagging the siding is a moment of creative expression that travels to a range of viewers. No one generally needs to arrange schedules to see the work; though, it is true that many fans (and photographers) stay alert.

In 2000, while students at Sunset High School in the troubled Oak Cliff neighborhood in Dallas, the Donjuan brothers, Carlos (b. 1982), Arturo (b. 1983), and Miguel (b. 1984), and the Torres brothers, Isaias and Elias Torres (twins, b. 1983), used to sneak out of their houses to paint some trains. Although having some initial experience with other crews in 1998-99, mostly, the young men had concentrated their creative visual energies in sketchbooks and in class assignments.

Isaias Torres and Miguel Donjuan, West Dallas freight yard, 2001

With the bravado of being teenagers, tagging trains is romantic, a rite of passage, and just something to do to pass the time. Whether identifying a maxim that describes an aspect of human nature, a proverb that encourages behavior, or a motto that reflects a dedicated world-view, according to Carlos, “sometimes you’ve got to break the law to keep out of trouble.” Although their parents would get upset, the members of the crew never felt like they were doing anything wrong, and they were careful to avoid dangerous situations. The trains were surfaces no 6

one seemed to care about, and most of the time, security guards, police, and other crews were out, both those to engage with and those to avoid. On Sundays, the Donjuan brothers and the Torres brothers would watch for other graffitied trains for inspiration, and they bought magazines with images from New York and California. They were inspired by the hip-hop magazine The Source that had one page of graffiti in the back of every issue. Locally, the Infinity Crew from East Dallas, and individuals like Debt, Marka 27, Mpulse, and SONER were attention-grabbing.

Arturo Donjuan and Isaias Torres, I-30 and Edgefield, Dallas, 2002 This early work by Sour Grapes demonstrates an initial interest in West Coast graffiti art, including Los Angeles prison art.

Over the years, the street art community has grown in Dallas (and elsewhere). Some artists continue to work in uncertain and extralegal circumstances while also accessing private and public commissions and galleries and using the internet to transport ideas. For Sour Grapes, over the years, projects have ranged from tagging structures that would soon disappear in the night, be painted over or torn down, to receiving commissions for local businesses and projects for larger companies like Neiman Marcus and institutions like the Dallas Contemporary, The University of North Texas, and the City of Dallas. For various lengths of time, the crew has included Alejandro Diaz, Jose Granados, Adam Peña, Mike Vasquez, and Adam Werner. Except for Elias Torres, all the original members are active, plus Eddie Castro, Emily Donjuan, and Ricardo Oviedo. Arturo’s son, Benicio, and Carlos and Emily’s son, Ari, are models and inspiration, and it seems likely that they will soon have the opportunity for direct contributions as they are often in the studio and playing nearby while their parents work on installations.

Isaias Torres, Carlos Donjuan, Elias Torres, Arturo Donjuan, West Dallas freight yard, 2001 7

Sour Grapes Crew, Minus WON, Dallas, 2011

Sour Grapesâ&#x20AC;&#x2122;s early work concentrated on traditional lettering. Tag names are Arturo: ARMA, Carlos: NEZ, Eddie: QRS or EDDIE, Isaias: ALPHA, Miguel: SOPA, and Ricardo: CONGO. More recent collective work develops from individual studio practice with formal considerations of surface, scale, color, and composition becoming more synthesized with thematic objectives. Each project evolves from unique circumstances, depending on the commission, potential audience, and who is available to paint. Sometimes everyone gets a section, and at other times, conceptual decision, design, and execution are more fully collaborative. For some projects, Arturo meets with clients and Miguel handles the business, while Carlos assumes the role of the proud older brother. 8

The paleta (a flavored ice or ice cream on a stick) has become a kind of logo for Sour Grapes. In 2006, a paleta vendor was robbed and shot in his car near where they lived. The crew was inspired to respond to the violence that threatens their neighborhood with a positive image. Their first paleta wall was created 4-5 months after the murder. The image of the paleta carries pride and perseverance far beyond the streets of Oak Cliff. For the Belmont Hotel, a motor court (now boutique) on a hill above their studio west of downtown Dallas, Sour Grapes created a mural based on cartoons and toys to welcome people to the neighborhood. This work also has sections by Shepard Fairey and JMR.

American contexts but also the legacy of Western and Latin American art historical traditions, with, of course, an especially deep understanding and respect for modern and contemporary art. Portraits reference the legacy of the Italian Renaissance; installations respect the Mexican Masters; idiosyncratic marks evoke the Abstract Expressionists and the generation that followed; iconic imagery and text suggest a Pop aesthetic. Although each artist pursues individual concerns, all seem to be confident in manipulating the poles and nuances of exquisite realism, fluid gesture, bold abstraction, intimations of private significance, and cultural declarations in creating visuals symphonies of energy and calm. In their work and in their leisure time, members of Sour Grapes are warm and supportive of each other, and it is easy to imagine them as kid playmates before becoming brothers-in-arms in the art world.

Miguel Donjuan in his studio, 2011

Childhood memories of imagining creatures living in the Trinity River inspire the public art commission for the Jefferson Viaduct. At once, the work is quirky but also a reflection of contemporary contexts and the histories they convey. The seven current members of Sour Grapes balance their work as a collective with their individual studio practice (besides, of course, meeting the multiple demands of their jobs and private lives). Today, the crew maintains a studio that is packed with paints, brushes, easels, and worktables; stacks of paintings, prints, and sculptures; computers and digital cameras; files, art books, and bottled water. Their work references American and Mexican-

Sour Grapes: From Street to Studio would not be possible without the support of the Elizabeth Firestone Graham Foundation, the Texas Commission on the Arts, and the Elizabeth Huth Coates Charitable Foundation of 1992. This exhibition and catalogue owe much to Liz Paris, whose intellect, diligence, and good humor are the foundation for a superb career as a scholar and curator. Greg Elliott, Professor and Chair of the Department of Art and Art History; Laura Crist, Art Gallery Coordinator; Willie Sanchez, Graphic Designer; and John Hooper, Exhibition Fabricator provide the foundation for bringing inspiring art to broad audiences.

Hopp’s Corner Store 10

Carlos Donjuan, Hopp’s Corner Store, 2007 Hopp’s Corner Store was also called West Dino’s Pharmacy as a slang name; for a period of time the building on Westmoreland Rd. existed as a drug house. The Sour Grapes Crew worked on this building (then abandoned) eleven times. Neither the building nor the work exists now.

Miguel Donjuan, Hoppâ&#x20AC;&#x2122;s Corner Store, 2009

Texaco Gas Station 12

Miguel Donjuan, Texaco Gas Station at Polk St. and Saner Ave., Dallas, 2007 Sour Grapes painted this building repeatedly between 2006-2007. The work is no longer visible.

Carlos Donjuan, Texaco Gas Station, 2007

Tire Shop Miguel Donjuan, Tire Shop, Dallas, 2007 The owner of this building (a tire shop at the time) on Zang Blvd. and Saner Ave. invited Sour Grapes to paint on the walls. The work is no longer visible.

Sour Grapes worked repeatedly on Matt’s Muffler Shop between 2009-2010.

Matt’s Muffler Shop

Miguel Donjuan, Matt’s Muffler Shop, Hampton St., Dallas, 2009

Davis Street

Miguel Donjuan works on the Davis Street wall, a collective Sour Grapes project located at Seven Mart, Davis St. and Woodlawn Ave., Dallas, 2013. This work was a free commission for the community.

Carlos Donjuan works on the Davis Street wall, 2013

Collective Bargaining 18

In September 2013, Sour Grapes created an installation at the Collective Bargaining show at The University of Texas at Dallas. Miguel Donjuan is on the ladder, and Ricardo Oviedo is below.

Sour Grapes, installation at Collective Bargaining at The University of Texas at Dallas, 2013 19

Belmont Hotel 20

The Belmont Hotel mural was sponsored by the Dallas Contemporary and the Belmont Hotel, Dallas, 2013. It features three sections for murals by Shepard Fairey, JMR, and Sour Grapes.

Miguel Donjuan (left) and Isaias Torres (right) take a break during painting of the Belmont Hotel mural, 2013 “We were welcoming people to the Oak Cliff area. Kids were photographing themselves in front of the wall. We wanted the work to embrace a lot of people. This wall is recognizable and easy to like.” – Carlos Donjuan

Arturo Donjuan during painting of the Belmont Hotel mural, 2013

“When driving on bridges, I experience memories of traveling on bridges as a child. We wanted the mural to blend with the sky, and we included the characters for fun. The mural blends with the landscape.” –Carlos Donjuan

Jefferson Viaduct

Jefferson Viaduct, Dallas, 2014

Jefferson Viaduct, Dallas, 2014 “We have these whimsical creatures – this journey through the forest, sky, and water. The Trinity River runs through Dallas and Fort Worth. My brothers and I would go over bridges and the dirty water and imagine what kind of creatures lived down there. The mural is kid-friendly but adults can connect with it also. We didn’t want to cater to a certain kind of cultural background.” –Carlos Donjuan

Jefferson Viaduct, Dallas, 2014

Eddie Castro 26

Eddie Castro, Texaco Gas Station, Polk St., Dallas, 2007

Eddie Castro is the latest addition to Sour Grapes, becoming part of the collective in 2009. Eddie went to Sunset High School with the founding members but did not start working with them until later. In 1998, he formed the crew Cause For Alarm (CFA) with Carlos Donjuan and their friend Salvador Jimenez. After high school, in 2000, Eddie joined a larger crew called Down For Whatever (DFW). During his time with DFW, Eddie honed his skills in graffiti and started to become a well-known painter in the Dallas scene, and he traveled and painted with the crew until the mid-2000â&#x20AC;&#x2122;s. Eddie has pursued his fascination with painting freight trains, and he has painted hundreds of them. However, after a run-in with law enforcement, Eddie decided that he needed to make a change of pace with his art. After joining Sour Grapes, his art took a major turn. He no longer concentrates all of his creative energy into graffiti, and he now works in sculpture, painting, and design. His large paleta sculptures have brought him the most attention, and his work in wood sculpture has been shown in galleries across Texas.

Eddie Castro, Patos, acrylic on wood, 2013

Eddie Castro, Paletas, acrylic on wood, 2013

Arturo Donjuan 30

Arturo Donjuan, Texaco Gas Station, Polk St., Dallas, 2007

Arturo Donjuan began working with graffiti as a young teen. He was enamored with hip-hop culture and had a great fascination with the graffiti coming out of its birthplace, New York. He found graffiti magazines in local underground shops, and he has studied all of the American styles. Despite the lack of school for graffiti or internet how-to videos, he would go out and paint, learning through trial and error. As his work developed, Arturo began to paint walls around his neighborhood and throughout Dallas, and over the years, his work has become bolder, more colorful, and larger. Graffiti led Arturo to his passion for lettering, which is also influenced by his knowledge of calligraphy, tattoo art, and the art of sign painting. Nowadays, he is also very involved in bringing graffiti to new audiences through organizing and leading workshops.

Arturo Donjuan, Abandoned Building, Singleton Ave., Dallas, 2007

Arturo Donjuan, Me Vale Madre, ink on found photograph, 2014

Arturo Donjuan, No Woman No Cry, ink on paper, 2014

Arturo Donjuan, Los Bloody Skanks, ink on paper, 2014

Arturo Donjuan, In the Darkest Hour, ink on paper, 2014

Carlos Donjuan 34

Carlos Donjuan, Abandoned Building, Singleton Ave., Dallas, 2008

Like his brothers, Carlos Donjuan was born in San Luis PotosĂ, MĂŠxico. He immigrated as a toddler to the United States with his family. Growing up in Dallas, he discovered his passion for graffiti art, and then discovered and developed a passion for studio art and painting. He holds a M.F.A. in painting from The University of Texas at San Antonio. Donjuan currently teaches drawing and painting at The University of Texas at Arlington. He remains an active graffiti artist, and his paintings have been exhibited in several galleries nationally and internationally. The Cheech Marin Collection recently acquired several of his paintings.

Carlos Donjuan, India, mixed media on birch panel, 2013 35

Carlos Donjuan Take Off mixed media on birch panel 2012 36

Carlos Donjuan, San Jacinto, mixed media on birch panel, 2012

Emily Donjuan 38

Emily Donjuan, Monstros, acrylic, cotton thread, and canvas, 2012

Emily Donjuan received her B.F.A. from the University of Texas at Arlington. She works in a variety of materials ranging from acrylic, watercolor, spray paint, fabric, and found objects. Her work reflects memories through symbols, characters, and magical sceneries. Conversations between shapes, patterns, clouds, donkeys, machetes and other fictional characters come to life in her work. She brings these whimsical worlds to life by creating a harmony between painting, drawing, sewing, and collage.

Emily Donjuan, Machetes, acrylic, cotton thread, and canvas, 2008 39

Emily Donjuan, Monstro, acrylic, cotton thread, and canvas, 2012

Emily Donjuan, Blue Face, mixed media on birch panel, 2012

Emily Donjuan, Green Face, mixed media on birch panel, 2012

Miguel Donjuan 42

Miguel Donjuan, Tomcatâ&#x20AC;&#x2122;s Night Club, Commerce St., Dallas, 2010

Miguel Donjuan learned his art by watching his two older brothers as a child. As a teen and the youngest in Sour Grapes, he always pushed to prove himself. His style soon began to develop and evolve into something unique, and his detailed, colorful lettering style has earned him considerable credibility in the Dallas graffiti scene. A lot of his early graffiti works were done on freight trains. Most of the schooling that Miguel got as a young artist was from his own experimentation and from watching and learning from his crew. He took a few art classes in a community college before he decided that it was not the atmosphere for him. He has been involved with mural painting and sign painting for business clients and for his own benefit. Some of his clients include Red Bull, Vitamin Water, Neiman Marcus, and Metro PCS. Beyond commercial work, he has experimented with many styles of painting for diverse exhibitions, and he has found that lettering plays a major role in his work.

Miguel Donjuan, Sue単os, mixed media on birch panel, 2013

Miguel Donjuan La Tigre mixed media on birch panel 2012

Miguel Donjuan La Culpa mixed media on birch panel 2012

Ricardo Oviedo 46

Ricardo Oviedo, Hoppâ&#x20AC;&#x2122;s Corner Store, Westmoreland St., Dallas, 2007

Ricardo Oviedo joined Sour Grapes in 2007. He is a self-taught artist and specializes in animated characters and hand lettering. Ricardo met the crew in underground art shows where a lot of graffiti artists showed work in Dallas and Ft. Worth. His work drew admiration because of his attention to detail. After becoming part of Sour Grapes, his drawings started to become ideas for large-scale murals, and he has created a signature character style that is playful and exaggerated in form. His characters have a variety of facial expressions and bodies that are usually heavy with arms and legs that are usually too thin for their bodies. Although his background was not in graffiti lettering like the rest of Sour Grapes, Ricardo has opened new creative avenues for the crew, namely in the exploration of combining figures with lettering. Ricardo has a growing number of collectors and has exhibited in many group shows throughout the nation and internationally as far as France.

Ricardo Oviedo, Mattâ&#x20AC;&#x2122;s Muffler Shop, Hampton St., Dallas, 2008

Ricardo Oviedo Indian mixed media on birch panel 2012

Ricardo Oviedo Untitled mixed media on wood panel 2012

Isaias Torres 50

Isaias Torres, Mattâ&#x20AC;&#x2122;s Muffler Shop, Hampton St., Dallas, 2008

Isaias Torres is one of the founding members of Sour Grapes and has known Arturo Donjuan since elementary school. In high school, Isaias and Arturo were inseparable, and their friendship is the foundation for the formation of the crew. Isaias is a self-taught artist who has learned everything he knows from graffiti, and his work has always been distinct in its playful yet legible style. He learned his graffiti skills by painting lots of freight trains in his early career. After an incident with law enforcement in 2002, Isaias reconsidered his passion for graffiti, but he did not want to give it up, so he started to work on walls with legal permission, and this has proved to be a completely different experience. Isaiasâ&#x20AC;&#x2122;s work has become larger, more colorful and more elaborate, and he has developed a studio art practice that has enabled him to show in galleries. He has created a variety of characters that first appeared in his graffiti pieces and that now appear on everything from paper and canvas to wood panels and found photographs.

Isaias Torres, Tire Shop, Iâ&#x20AC;&#x201C;35 and Saner Ave., Dallas, 2007

Isaias Torres, Super Seals Grocery, Clarendon St., Dallas, 2004

Isaias Torres, (left to right) Mocho Bird, Loopy Bird, Ghost Bird, Crossâ&#x20AC;&#x201C;Eyed Bird, mixed media on birch panel, 2014

Exhibition History and Bibliography Group Exhibitions 2014 – Uvas Agrias, Gravelmouth Gallery, San Antonio 2014 – 21 Helmets: MotoGP Art Installation, Circuit of the Americas, Austin 2014 – Oak Cliff Speed Bump Tour, Sour Grapes Studio, Dallas 2014 – Artopia, Downtown, Dallas 2013 – Scope Art Fair, Scope Miami 2013 – Red Bull Curates: Canvas Cooler Project, Life In Deep Ellum, Dallas 2013 - Collective Bargaining, The University of Texas at Dallas 2013 – Tejano, Longview Museum of Fine Art, Longview 2013 – Building Blocks 2, Benefit art show for One Safe Place, Ft. Worth 2012 – La Tienda, The Public Trust Gallery, Dallas 2012 – Print Sweet, The Public Trust Gallery, Dallas 2012 – Grafficanos, featuring Miguel Donjuan and Eddie Castro, Mexic-Arte Museum, Austin 2012 – SXSW, Complete Gallery, Austin 2012 – Studio Show, Dallas 2012 – Latino Art Fest, Bishop Arts, Dallas 2011 – Rest In Power, Dallas Contemporary, Dallas 2011 – Wonder Years, Rising Gallery, Dallas 2011 – Black Roses, Tractor Beam Gallery, Dallas 2011 – Temporary Occupants, Eastfield College, Mesquite 2011 – Dallas Art Fair, Neiman Marcus, Dallas

2010 – Artopia, Victory Park, Dallas 2010 – Show Me The Munny, Atama, Dallas 2010 – Sour Grapes 10th Anniversary Party, Studio 410, Dallas 2010 – Friday The 13th, Coco Andre, Dallas 2010 – Summer Skool, We Are 1976, Dallas 2010 – Common Ground, Kettle Art Gallery, Dallas 2010 – Sweet Nothings, Charley Mitcherson Gallery, Dallas 2009 –Graff, Tag and Bomb: The Influence of Graffiti, The University of North Texas, Denton 2009 – I Am Here: The DIAC Trade Show, South Side on Lamar, Dallas 2008 –The Bottom of the 10th, 10 Footwear, Dallas Community Projects 2014 – Summer Graffiti Workshop, Dallas Contemporary 2013 – Café Momentum Mentor Program, Komali, Dallas 2013 – Live Painting, Dallas Independent School District event, Perot Museum, Dallas 2013 – Live Painting, Dallas READS event, Clyde Warren Park, Dallas 2013 – Graffiti Workshop for visually impaired teens, Led by Arturo Donjuan, The Meadows Museum, Southern Methodist University, Dallas 2013 – Summer Graffiti Workshop, Dallas Contemporary 2013 – Graffiti Workshop, Bishop Lynch High School, Dallas 2013 – Silk Screen Workshop, Trinity Basin Elementary School, Dallas 2013 – Community Meeting, Discussion on Jefferson Viaduct Mural, Oak Cliff Cultural Center

2012 – Summer Graffiti Workshop, Dallas Contemporary 2012 – Graffiti Workshop, Oak Cliff Cultural Center, Dallas 2012 – Kids Art Camp, The Ft. Worth Modern Museum 2012 – First Annual Latino Art Fest, Bishop Art, Dallas 2011 – Kids Art Workshop, Sour Grapes Studio, Dallas 2010 – Graffiti Workshop for Elderly Adults, HCG Gallery, Dallas Mural Projects 2014 – Jefferson Viaduct Mural, Dallas 2014 – Dallas Art Fair, Joule Hotel, Dallas 2014 – FIAT Mural Project, Dallas 2013 – Belmont Hotel Mural, The Dallas Contemporary and The Belmont Hotel, Dallas 2013 – Brisk Bodega Mural, Houston 2013 – Mudsmith Mural, Mudsmith, Dallas 2013 – Red Bull Mural, Dallas 2013 – Red Bull Mural, Farmers Branch 2012 – First Annual Latino Arts Fest, Dallas 2011 – Manhattan Bar Mural, Dallas 2011 – 5-Hour Energy Mural, Dallas 2010 – Oak Cliff Bicycle Company Mural, Dallas 2010 – Paleta Wall, Stop and Shop, Dallas 2010 – Vitamin Water Mural, Dallas

2008 – Knowledge is Power Mural, Intersection of Illinois and Cockrell Hill Sts., Dallas Lectures 2014 – Chit Chat, Carlos Donjuan moderating, Dallas Contemporary 2014 – Career Day Speaker, Miguel Donjuan, Trinity Basin Preparatory, Dallas 2014 – D Magazine lecture Series, Nasher Sculpture Center, Dallas 2014 – The Art of Teaching, Miguel Donjuan, Speaker, Dallas Contemporary 2014 – PKN + AIGA, Carlos Donjuan, Lecturer, Fair Park, Dallas 2013 – dCu, Dallas Contemporary university professor lecture series led by Carlos Donjuan 2013 – State of the Arts, Carlos Donjuan, Dallas Museum of Art 2011 – Artist Lecture with The Sour Grapes, The Dallas Contemporary Publications 2014 – LoDown Magazine, art work featured 2013 – New American Paintings, Carlos Donjuan feature 2013 – Juxtapoz, Carlos Donjuan feature 2013 – Pyramids and Blobs, self-published book by Carlos Donjuan 2012 – D Magazine, art work featured 2012 – Osos, self-published ‘zine by Carlos Donjuan 2011 – Art and Culture, cover and story by and about Miguel Donjuan and Ricardo Oviedo

Preliminary sketch for Jefferson Viaduct, Dallas, 2013

Acknowledgements Sour Grapes would like to thank: The Donjuan Family, The Rodriguez Family, The Torres Family, The Oviedo Family, The Castro Family, The Alonzo Family, The Maldonado Family, Jose Granados, Steven Chavez, The Werner Family, Dr. Scott Sherer, Liz Paris, Willie Sanchez, Filberto Chapa, Cheech Marin, Antonio Colombo, Alessandra Cusatelli, Cinelli Cycles, Melissa Richardson Banks, Tom Paul, Zaul Zamora, The Complete Family, Clay Jones, Shawn Native, Paul and Matilyn Jolly, Serie Project, Coronado Studios, Gravelmouth Gallery, Kettle Gallery, Giant Robot, Juxtapoz Magazine, New American Paintings, Day19 (Jeremy and Claire Weiss), Gabe Scott, Noe Montes, The Date Farmers, Matt Hawthorne, The Cox Family, Sober, DJ A-1, Nature, Select, DJ S.O.I, DJ Uno, Jordan Rodgers, Alex Rubio, Vincent Valdez, Allison Webber, Cold Digginâ&#x20AC;&#x2122;, Jorge Perez, Caleb Barnard, The Ninth Inning, The University of Texas at San Antonio, The University of Texas at Arlington, Kirk Hopper Fine Art, The Dallas Contemporary, Dallas Museum of Art, Sergio Garcia, Alejandro Diaz, Soner, Sloke, Half Dead Crew, Cultura Fina, A+C Magazine, Dallas Observer, Dallas Morning News, Office of Cultural Affairs (Dallas), The Mexic-Arte Museum, El Centro College, Benito Huerta, The Balsers, ATAMA, Christian Yazdanpanah, Emily J. McCartney, Gold Line, Red Bull DFW, Patrick Martinez, Marka 27, Boog Brown, Mavigator, Soul Assassins, Chingozine, Martellus Bennett, Dotmo, Los Outsiders, The Lullwood Group, The Bath House Cultural Center, KNOWN Gallery, The Oak Cliff Cultural Center, Loyal KNG, El Gato Chimney, The Berry Family, Deadstock, Strangeways, Mike Arreaga, The Deftones, The Oak Cliff Community, y todos los demĂĄs 56