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27-619: The collections are housed in the Sid Richardson Hall, which also houses the Dolph Briscoe Center of American History and Barker Texas History Collections Center. This library serves LLILAS as a hub for studies pertaining to Latin American history and studies. The library includes over 970,000 books, 19,000 maps, 93,500 photographs, 4,000 linear feet of manuscripts, 11,500 broadsides, and 50,000 items in other multimedia formats. Most of

54-408: A BS in art education and a Texas Teaching Certificate at Texas Arts and Industry. During her undergraduate studies, she decided that it was important for her to create art that would be understood by people of all ages. Garza learned to be proud of her culture and wanted to educate others using her art. Later, Garza received a Master of Education in 1973 at Juarez-Lincoln/Antioch Graduate School and

81-572: A Master of Art in 1981 from San Francisco State University . As of 1976, Garza lives in San Francisco, California. The initial roots of Garza's artwork lay in her family, to whom she is close, and in the Chicano Movement . Garza later wrote that the Chicano Movement nourished her goal of being an artist and gave her back her voice. She says that her artistic creations helped her "heal

108-463: A history of the collection to 1940, detailing deals for some acquisitions that he observed. Latin American historian Charles W. Hackett , along with three other University of Texas professors went to the 1920 inauguration of revolutionary General Álvaro Obregón as president of Mexico. Hackett learned that the library of historian and bibliophile Genaro García was for sale following his death. Hackett arranged for an appraisal by University of Texas and

135-682: A memorial by Fray Bartolomé de las Casas , the residencia of the first viceroy of Mexico , Antonio de Mendoza , and the manuscript of Fray Gerónimo de Mendieta 's history of the Franciscans in Mexico. Nettie Lee Benson, for whom the Latin American collection is named, devoted the greatest part of her career to expanding the library's holdings by traveling to Latin America to acquire materials and she "developed an innovative acquisition methodology adapted to

162-786: Is an Chicana artist and illustrator. She is well known for her paintings, ofrendas and for her papel picado work inspired by her Mexican-American heritage. Her work is a part of the permanent collections of the Smithsonian American Art Museum , the Hirshhorn Museum and Sculpture Garden , the National Museum of Mexican Art , the San Jose Museum of Art , the Mexican Museum , the Pennsylvania Academy of

189-557: Is an organized research unit and public service component of the University of Texas at Austin named for Dolph Briscoe , the 41st governor of Texas . The center collects and preserves documents and artifacts of key themes in Texas and United States history and makes the items available to researchers. The center also has permanent, touring, and online exhibits available to the public. The center's divisions include Research and Collections,

216-635: Is located in Bonham . It contains exhibits documenting the life and career of former Texas congressman and longest-serving Speaker of the United States House of Representatives Sam Rayburn (1940–1947, 1949–1953, and 1955–1961). The Rayburn Museum became a division of the Briscoe Center in 1991 and is open free to the public. The Briscoe-Garner Museum (formerly the John Nance Garner Museum)

243-631: Is located in Uvalde . The museum documents the lives of John Nance Garner and Dolph Briscoe, both Uvalde natives and historically important political figures from Texas. On November 20, 1999, the City of Uvalde transferred ownership of the Garner Museum to the University of Texas at Austin to become a division of the Briscoe Center for American History. In 2011, the Board of Regents of the University of Texas System approved

270-593: The Sam Rayburn Museum , the Briscoe-Garner Museum , and Winedale . The Research and Collections Division is located on the University of Texas campus in Austin . Research and Collections administers the center's main research facility and is the repository for most of the center's books, documents, photographs, sound, and ephemera collections. It was comprehensively renovated in 2017. The Sam Rayburn Museum

297-482: The sources are about Texas and Mexico , but also include items are also from the other Latin American countries, particularly: Central America, Chile , Peru , and Brazil . The Collection is the home of interviews collected by the Voces Oral History Center . The Latin American holdings at the University of Texas have increased since the early twentieth century. Historian Carlos E. Castañeda wrote

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324-569: The Fine Arts , and the Oakland Museum of California , among other institutions. Garza was born in 1948 in Kingsville, Texas . She is the second of five children. Garza loved watching her mother paint, and felt like what her mother did was magic. Garza helped her grandmother create embroidery patterns using paper cutouts as a young child. The influence of her mother's and grandmother's art-making

351-548: The San Francisco Water Department and a sculpture at San Francisco International Airport . In Chan Kaajal Park , a park opened in 2017 in San Francisco's Mission District, features renderings of a California condor and a great blue heron by Garza, commissioned by the San Francisco Arts Commission . As an author-illustrator, Garza has authored bilingual children's books that are notable for

378-806: The bilingual text and vivid illustrations. She draws on Chicano culture, family stories, memories, and her heritage. Her archives are held by the Benson Latin American Collection . In 2013, Garza's Cama para Suenos (1985) and Loteria-Tabla Llena (1972) were included in the Smithsonian American Art Museum's Our America: The Latino Presence in American Art Garza was also featured in the University of Texas at Austin's 7th Annual ¡A Viva Voz! where she talked and exhibited over 20 of her works. The exhibit ran from April through August 2009. Carmen Lomas Garza: A Retrospective

405-656: The conditions in the Latin-American book-publishing trade." In a taped interview, Benson discusses the collection and her role in helping build it. In 1974, the Benson started the Mexican American Library Program (MALP), responding to student demands that led to the creation of UT's Ethnic Studies programs (now Black Studies and Latino Studies) in 1969. Since then, the Benson has become a leader in building Latinx circulating and archival collections. The Benson holds

432-461: The deal was negotiated. The collection was enormously rich, 25,000 printed items, newspapers, personal papers of Vicente Guerrero , Antonio López de Santa Anna , Valentín Gómez Farías , Lucas Alamán , Vicente Riva Palacio and others were part of the collection that was transported to Austin by a special train. The expansion of University of Texas's role in Latin American studies dates to this acquisition. The university's Latin American collection

459-549: The folk tradition. She also employs the tradition of paper picador (cut paper) as the basis for her large, cut-steel, public art pieces. . . The imagery often refers to aspects of Tejana (Texan Mexican American) culture, including daily family life." Garza has made Day of the Dead ofrendas , or ritual altars, to honor not just family members, but also people from history. She has made ofrendas for Frida Kahlo , Doña Sebastiana , and Tenochtitlán . She has created eight paintings for

486-574: The papers of prominent Latinos including Alurista , Gloria E. Anzaldúa , Sam Coronado , Carmen Lomas Garza , José Ángel Gutiérrez , Américo Paredes , and Carmen Tafolla . The Benson also has the records of organizations including League of United Latin American Citizens and the National Latino/a Lesbian and Gay Organization . Dolph Briscoe Center for American History The Dolph Briscoe Center for American History

513-551: The renaming of the John Nance Garner Museum to the Briscoe-Garner Museum, in honor of the late Governor Dolph Briscoe. Winedale is a complex of nineteenth-century structures and modern facilities situated on 225 acres of land near Round Top . Winedale offers examples of early Texas architecture and crafts, an interpretive center, continuing education seminars and other public programs. Miss Ima Hogg visited

540-632: The site weekly for review of the project with John Young, a recent architectural graduate of Rice University, who was engaged by Miss Hogg to manage the restoration, perform historical research, hire and train local workers in restoration skills, procure materials, design property plans and prepare progress reports (now in the University of Texas Library). Local workers supervised by Newton Peschel were Newton Vokel, Martin Bartels and Thomas Smith. A mason, Mr. Yoakum, constructed foundations and chimneys. Carmen Lomas Garza Carmen Lomas Garza (born 1948)

567-537: The spaces they inhabit show how Chicano/a identities are connected to the places she paints. Her paintings are also idealized and the figures become archetypes. Her flattened figures and sense of space create "a sense of immediacy," letting the viewer interact directly with the subject matter. Art Hazelwood, et al, write in Mission Gráfica , "Garza's work follows and updates a traditional style both subject matter and in techniques. Her figures are flat and colorful in

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594-514: The wounds inflicted by discrimination and racism." Garza also feels that by creating positive images of Mexican-American families, her work can help combat racism. Her choice to use personal and family images to combat racism is a departure from more political works by many Chicano artists. The creation of her narrative, rather than one that is forced on her, however, speaks against racism on its own. Garza incorporates little figures ( monitos ) in her artwork. The figures and their interactions with

621-618: Was Garza's first retrospective and featured work from the mid-1970s to the present. It was organized by the San Jose Museum of Art , where it was on view from January to April 2001; it later traveled to the San Antonio Museum of Art , South Texas Institute for the Arts , Ellen Noël Art Museum , National Hispanic Cultural Center , and the Polk Museum of Art . A primary school in Los Angeles,

648-462: Was further enriched by a number of acquisitions, including a donation of volumes by the Hispanic Society of America and papers of U.S. historian Justin H. Smith , the collection of Chilean historian Diego Muñoz, which included many works by or about José Toribio Medina . In addition, the library acquired the private collection of Paraguayan historian Manuel Gondra. A huge addition to the library

675-480: Was still not tolerated. She and her friends were hit with a paddle as a punishment if they spoke Spanish. Garza first attended Texas Arts and Industry University (now Texas A&M University, Kingsville ). Her parents had been involved in political organizing through the American GI Forum , and Garza followed in their footsteps by organizing a book store Chicanos on her college campus. In 1972, she received

702-436: Was the acquisition of virtually all the collection of Mexican historian Joaquín García Icazbalceta that deal with sixteenth-century Mexico. The García Icazbalceta collection included rare and important sixteenth-century printed works, including Bishop Juan de Zumárraga 's 1544 Doctrina , Fray Pedro de Gante 's Doctrina , writings of Francisco Cervantes de Salazar . Manuscripts include an autograph letter by Hernán Cortés ,

729-467: Was very strong and by age thirteen Garza had decided she would be an artist. Her parents encouraged her to pursue her interests in college. Most of the families living in her community growing up were Mexican-American just like her family. When Garza and her brother started to attend school, speaking Spanish was not tolerated. They were often teased by other children who did not understand their culture. Even when Garza attended high school, speaking Spanish

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