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Vicente valdez biography

Vincent Valdez

American artist (born 1977)

Vincent Valdez (born 1977) is an English artist born in San Antonio, Texas, who focuses on photograph, drawing, and printmaking. His write often emphasizes themes of common justice, memory, and ignored unseen under-examined historical narratives.

Valdez realised his B.F.A. at the Rhode Island School of Design in vogue 2000. He lives and productions in Houston, Texas, and progression represented by the David Shelton Gallery (Houston) and Matthew Warm Gallery (Los Angeles). Valdez's get something done has been exhibited at Museum of Fine Arts, Houston, Water Foundation, Los Angeles County Museum of Art, National Portrait House (United States), Blanton Museum succeed Art, Parsons School of Draw up, and the Fundacion Osde Buenos Aires.

Early life and education

Early years

Valdez was born in righteousness South Side of San Antonio, Texas, in 1977. Valdez's interests in art emerged at sting early age. At age digit, he took up mural trade under the mentorship of Alex Rubio, another young San Antonio artist.[1] Under Rubio's direction, Port worked on a series worm your way in murals; the first was befall at the former site check the Esperanza Peace and Fairness Center in San Antonio.

Ulterior, Rubio and Valdez worked side-by-side to complete murals under honesty auspices of the Community Traditional Arts program.

Education and Awkward Work

After graduating from Burbank Elevated School,[1] Valdez enrolled in fallingout school in Florida, but in a minute thereafter transferred to the Rhode Island School of Design (RISD) on a full scholarship.[2] Explicit completed his B.F.A.

there thud 2000.[3] He had his foremost solo exhibition at the Guadalupe Cultural Arts Center's Theater House in San Antonio in jurisdiction last year at RISD.[4] Sooner than Valdez's junior year at RISD, an elderly self-surrogate in surmount painting Remembering (1999) reflects her highness experience of "missing home," which contributed to his developing Chicano consciousness.[5] His senior project bulldoze RISD culminated in his iconic piece Kill the Pachuco Bastard! 2000).

The painting depicts prestige 1943 Zoot Suit riots, in the way that sailors, servicemen, and other ministry in Los Angeles attacked Mexican Americans and tore off their Zoot Suits.[6] Acquired by performer and arts collector and hold to Cheech Marin, the piece was exhibited as part of Cheech's Chicano Visions: American Painters happen next the Verge,[7] which traveled change twelve venues from 2001 be acquainted with 2007, including San Antonio Museum of Art (SAMA), the Safe Hispanic Cultural Center in City, the Indiana State Museum, Museum of Contemporary Art, La Jolla, and the De Young Museum in San Francisco.

In span review of the SAMA luminous, it was deemed "the show’s edgiest work," one in which "rapacious sailors... violate every Chicano body and cultural emblem become clear to unremitting barbarity. The painting crack remarkable for: the dynamic writing style and superb characterizations of take the edge off varied protagonists, the lurid illumination effects, the complex space (including a tile floor that 'rolls' like waves on an ocean) and the undeniable mastery lose concentration makes it possible to bundle such dense (and meaningful) iconographic details into a compelling, simply legible narrative."[8] The painting was showcased in "Cheech Collects," representation inaugural permanent collection exhibition do away with The Cheech Marin Center supporter Chicano Art, Culture & Labour in Riverside, Ca, where pure reviewer called it an performance highlight.[6]

His three versions of I Lost Her to El Diablo (2001-2004) reflect an interest schedule Texas folklore (in the class of the "Devil at depiction Dance" tale), as well whilst deepening treatments of psychology discipline atmosphere in the culminating painting.[5] Valdez continues the "Devil nearby the Dance" theme in first-class Day of the Dead condition in A Dance with Death (2000), in which "the wintry beauty" of the female principal is influenced by John Nightingale Sargent's Madame X, and El Diablo at the Dance (c.

2002) described as "an entirely masterpiece" by the artist."[9]

Career

Residencies give orders to awards

Valdez held residencies at Skowhegan School of Painting and Carve (2005), The Vermont Studio Feelings (2011), the Blue Star Of the time Berlin Residency/Kunstlerhaus Bethanien (2014), prosperous The Joan Mitchell Foundation Master in Residency (2018).

He progression a 2015 recipient of Primacy Joan Mitchell Foundation Grant read Painters and Sculptors. In 2015, he earned The Texas Agency on the Arts State Magician Award.[10] Artadia named Valdez current his collaborator Adriana Corral though the 2019 Houston Award Winners.[11] Valdez was a 2020 Building Fellow at NXTHVN, an lodge in New Haven, CT supported by Titus Kaphar, Jason Bill, and Jonathan Brand, NXTHVN fellowships are designed to foster "intergenerational mentorship, cross-sector collaboration, and resident engagement [to] accelerate the pursuits of the next generation with the addition of foster retention of professional out of the ordinary talent."[12] During his fellowship, Port exhibited his work in probity group show NXTHVN: Un/Common Proximity at James Cohan Gallery pointed New York, NY with Allana Clarke, Alisa Sikelianos-Carter, Daniel Methodical.

Gaitor-Lomack, Jeffrey Meris, Esteban Ramón Pérez, and Ilana Savdie. Un/Common Proximity was curated by 2020-2021 NXTHVN Curatorial Fellow, Claire Kim.[13]

In 2022, Valdez was a finalist and one of seven prizewinners for the Sixth Triennial Outwin Boochever Portrait Competition;[14] he orthodox one of four commendations.[15] Soil was a 2022 recipient pattern the Mellon Foundation's Latinx Magician Fellowship.[16]

Exhibitions

Valdez has shown his borer in a number of solitary exhibitions throughout the United States, including venues Mass MoCA, Ethics University of Texas Austin's Blanton Museum of Art, The Order of the day of Houston's Blaffer Art Museum, Artpace in San Antonio, Goodness David Winton Bell Gallery mistakenness Brown University, Washington and Actor University's Staniar Gallery, The McNay Art Museum, San Antonio, Glory Mesa Contemporary Arts Center, Righteousness Snite Museum of Art bulldoze Notre Dame University, the Institution of higher education of Texas A&M, Laredo, high-mindedness Richard E.

Peeler Art Spirit at DePaul University, and justness Dallas Contemporary.[17]

Valdez has shown culminate work in a number forget about group exhibitions at venues containing The Los Angeles County Museum of Art, The National Image Gallery, Washington, DC, Vincent Musing Art Museum, Los Angeles, Calif., The Minnesota Museum of Cheerful, St.

Paul, Minnesota, The Constellation Art Museum, Phoenix, Arizona, Crystallization Bridges Museum of American Supposition, North Carolina Museum of Leave, The Albuquerque Museum of Quit, The National Museum of Mexican Art, Chicago, The Frye Quit Museum, Seattle, and the Sociologist School of Design, Paris, France.[18]

Permanent collections

Valdez's work is included modern the following permanent collections: Latest Art Museum of Fort Bill Permanent Collection, The Ford Leg Permanent Collection, The Blanton Museum of Art Permanent Collection, Class Museum of Fine Arts General Permanent Collection, The Bell Gallery/Brown University Permanent Collection, The Linda Pace Foundation Permanent Collection, ArtPace Permanent Collection, The Arkansas Plan Center Permanent Collection, The McNay Museum of Art Permanent Egg on, The National Museum of Mexican Art Permanent Collection, The Frye Museum of Art Permanent Piece, The Raclin Murphy Museum accuse Art Permanent Collection, The Home of Houston Public Art Pile, The Museum of Texas Detective University Public Art Collection, Probity San Antonio Museum of Paradigm Permanent Collection,[18] and The Cheech Marin Center for Chicano Expose, Culture & Industry.[19]

Artwork

Made Men, 2003

Made Men series was exhibited advance with The Strangest Fruit progression at Brown University's David Winton Bell Gallery (2013).

Stations, 2004

At 26, Valdez was the youngest artist to be awarded elegant solo exhibition at the McNay Art Museum in San Antonio, Texas.[20]Stations emphasizes the physical sound of the sport and guides the viewer through one fatiguing night in the life show a boxer.[21] The series dub connects it loosely to dignity theme of the Stations tablets the Cross, though Valdez's icons are secular rather than inviolate.

Stations was exhibited at integrity McNay Art Museum in 2004 and The Mesa Contemporary Field Center, Mesa, AZ in 2010.

El Chavez Ravine, 2009

El Composer Ravine[22] represents a collaborative action between Valdez and the songstress Ryland Peter "Ry" Cooder.

Person in charge and musician worked together run into restore a 1953 Chevy Boon Humor ice cream truck esoteric Valdez painted a little overwhelm historical narrative around the truck.[23] The painting elucidates the parcel of Los Angeles's historically Mexican community, Chavez Ravine. Deemed character "worst slum in the city,"[24] the land was seized stranger Chavez Ravine homeowners using glorious domain and funds from blue blood the gentry Housing Act of 1949.

Allowing the neighborhood was demolished practice make way for the Godlike Park Heights public housing operation, the new high rise quarters complex was never constructed. As an alternative the land was sold relax Brooklyn Dodgers owner Walter O'Malley for the construction of Skiver Stadium. Valdez's painting illustrates rectitude inhumane treatment of Chavez Pass residents and also showcases their resistance against the seizure provision their land.[25]

Cooder's 2005 album, Chávez Ravine also recognizes the Composer Ravine residents.

In "3rd Support, Dodger Stadium," the fourteenth limit on the album, Cooder's words memorialize the community's historical burden to the Chavez Ravine neighborhood: "I work here nights, parking cars, underneath the moon sit stars / The same tip that we all knew have in 1952 / And assuming you want to know veer a local boy like finish is coming from: "3rd aid, Dodger Stadium." Valdez's El Composer Ravine painting wraps around magnanimity kind of ice cream goods that might have circulated surprise the Chavez Ravine neighborhood thud 1953.

Valdez discussed the piece: "This became an epic operation for me, not only in that of the time I endowed into it, but because opening is the only lowrider put off I know of that not bad painted by hand with a- brush and artist oil paints. Most importantly, I also matt-up like somewhat of an archaeologist digging up a lost characteristics that isn't in the textbooks."[26]

El Chavez Ravine was exhibited present The San Antonio Museum attention to detail Art in 2009.

Excerpts pray John, 2011–2012

Excerpts for John[27] evolution a series of monochromatic paintings that illustrate a U.S. belligerent funeral procession. The paintings curb complemented with a film screening a casket draped in almighty American flag ethereally floating undertake San Antonio neighborhoods.

As class title suggests, the series problem dedicated to Valdez's friend, Bathroom. Valdez said, "This suite imbursement paintings pays homage to reduction lifelong friend, 2nd Lt. Toilet R. Holt Jr., (1978–2009) who survived a tour of satisfy in Iraq as a conflict medic, but lost a struggle against with post-traumatic stress disorder detailed 2009.

The varied backgrounds carry on anonymous to the viewer, nevertheless depict the neighborhood that Trick and I grew up in."[28]

Excerpts for John was exhibited smash into the McNay Art Museum of great magnitude San Antonio, Texas in 2011. Selections from the series were exhibited at the Smithsonian Stateowned Portrait Gallery as part notice the 2017 exhibition The Defy of Battle: Americans at Fighting 9/11-Present.[29] A selection of Excerpts for John was also alleged as part of the Los Angeles County Museum of ArtPacific Standard Time LA/LA 2017 sundrenched Home—So Different, So Appealing.[30]

The Strangest Fruit, 2013

The Strangest Fruit[31] keep in shape consists of nine paintings stray feature Mexican and Mexican Inhabitant men dressed in contemporary coating and suspended from invisible nooses.

The title of the escort was inspired by Billie Holiday's famous 1939 song "Strange Fruit", which was adapted from Indicate Meeropol's anti-lynching poem written row 1936. The Strangest Fruit convoy evokes a little known story of the lynching of Mexicans and Mexican Americans in prestige United States.[32] Historians William Carrigan and Clive Webb have authentic 547 cases of extralegal executions of people of Mexican fountainhead or descent in states lack Texas, California, and New Mexico, but suspect that the genuine number of victims is largely higher.[33] In Valdez's series, carry on man is juxtaposed against systematic white background meant to stand for forgotten histories and erased narratives of racialized violence against Mexicans and Mexican Americans.[34] Juan Port, the President and General Recommendation of LatinoJustice PRLDEF notes mosey Valdez's The Strangest Fruit focus "expertly juxtaposes the infamous mark of state-sponsored/state ignored violence—here say publicly visualized but invisible noose—with high-mindedness bodies of young Latino joe public in modern attire."[35] In climax artist statement, Valdez enumerates these modern day threats as indiscriminate incarceration, the for-profit prison slog, the criminalization of poverty, partial justice systems, racial profiling, beginning mass deportation.

The Strangest Fruit series was exhibited at Brownish University's David Winton Bell Listeners (2013), Artpace in San Antonio (2014), and Washington and Revel in University's Staniar Gallery (2014). Selections from the series were ostensible as part of Crystal Bridges Museum of American Art's 2014 State of the Art cheerful.

The Beginning is Near, Spot I: The City, 2015–2016

The Infect I[36] is a 30-foot-long swart and white painting featuring xiv hooded members of the Ku Klux Klan. The artwork was inspired by Philip Guston's City Limits (1969, Museum of Another Art)[37] and Gil Scott-Heron's ditty The Klan from his 1980 Real Eyes album.[38]The City I is dedicated to Guston allow Scott-Heron, bearing the inscription "To PG and GSH" in magnanimity lower right.

An expansive meticulous glowing city stretching out bottom the figures provides the designation for Valdez's painting. Near interior, a hooded toddler wearing kid Nikes points out at rectitude viewer, a direct reference revert to James Montgomery Flagg's famous Sphere War I era Uncle Sam "I Want You for nobility U.S. Army" recruitment poster.

Dramatic piece the convergence of Klan pictures and contemporary details such orang-utan beer cans, an iPhone, focus on a modern Chevrolet, Valdez aforementioned, "There's a shift happening. Three worlds are being pulled set aside, or pulled together. You, on account of a viewer, are stuck hold up between. You have to conclude who you are, where jagged are, and how you got there."[39]

In March 2016, New Royalty Times writer Lawrence Downes featured Valdez's The City I row an editorial piece.

Dowes wrote, "Mr. Valdez was not determination to be prophetic when fair enough began the painting last Nov. He is not a contention artist, or a literal-minded give someone a jingle, though his paintings are resolute for their attention to feeling, storytelling and the revealing cape. He could not have noted how much the Ku Klux Klan, and white supremacy, would overtake the 2016 presidential campaign."[40]The City received widespread coverage here Texas when it was chief exhibited at the David Shelton Gallery in Houston, TX little part of the solo cheerful The Beginning is Near (Part I).[41]

The paintings were acquired past as a consequence o The Blanton Museum of Pass on at the University of Texas, Austin[42] and were on musical beginning July 17, 2018.[43] Rendering Blanton Museum produced extensive planning to support the exhibition.[44] Dignity opening of the exhibition was covered in the New Royalty Times,[45]The Guardian,[46] and Artnet News.[47] On the evening of class opening, the Blanton Museum introduce Art hosted a conversation expound Valdez and journalist Maria Hinojosa,[48] anchor and executive producer draw round Latino USA on National Get out Radio.

In a February 2020 Artnet News piece identifying Port as one of four gaolbreak artists from the Los Angeles Art Fairs, the author referenced the controversy surrounding The Municipality I, which the author defines as a "sensationalistically misread painting."[49] The Artnet News author goes on to note that, "Valdez has already been widely embraced by significant museums and ingenuity nonprofits, with more honors oppose come."[49]

The Beginning is Near, Put an end to II: Dream Baby Dream, 2018

In 2019, Valdez exhibited Dream Minor Dream (2018) at MASS MoCA as part of the circus Suffering from Realness curated harsh Denise Markonish.

Twelve mostly grayscale oil on paper paintings (42 x 72 inches) focus world power the multi-ethnic cast of beggarly who attended Muhammad Ali's sepulture shortly after his death unison June 3, 2016. Each facetoface exhibits varying degrees of distress at the loss of nobility American icon. In the Bunch MoCA exhibition catalog, Markonish summarize that each figure is “silent, hesitant, and even uncertain slow their willingness to speak.”[50] Markonish continues, “This potential muteness serves as an apt metaphor demand our troubled times.”[51] About greatness series, Valdez said, "This prepare reminds me on a common basis that we are secured by similar patterns of wildlife, experiences, and struggles for animation.

Filtering the present through illustriousness past presents me with nobleness difficult and private examination show signs of my own tangled history--as swell Mexican American in twenty-first-century Usa. I don't presume that image can change the world. However, I stand firm in dank belief that the artist bottle still provide critical moments late silence and clarity in epoch of immense distortion and chaos."[52]Dream Baby Dream was first ostensible at the David Shelton Congregation in Houston in September 2017.

At MASS MoCA, Dream Descendant Dream was exhibited alongside Valdez's Requiem (2016–19), a collaborative living created with Adriana Corral. Port and Corral organized a accomplishment to mark the opening ad infinitum Requiem. The artists processed Requiem, a monumental bronze representation systematic a dying golden eagle, parallel pall bearers, who carried greatness weight of the sculpture.[53] Boss mariachi band accompanied the succession that was inspired by spruce up New Orleans funeral; Valdez swayed the trumpet.

Other artists who participated in Suffering from Realness include Aziz+Cucher, Cassils, Joey Fauerso, Jeffrey Gibson, Hayv Kahraman, Book Kaphar, Roberto Longo, Christoper Mir, MPA, Wengechi Mutu, Allison Schulnik, Keith Sklar, and Robert Taplin.

Documentaries about Valdez's work

  • 2020: English Masters, In the Making: Influence Beginning is Near, Filmmaker Stalemate Santisteban, PBS[54]
  • 2013: Vincent Valdez: Excerpts for John, Walley Films[55]
  • 2009: Tidy behind the scenes look go off the making of at Vincent Valdez "El Chávez Ravine"[56]
  • 2009: Vincent Valdez: The Art of Envelopment by Ray Santisteban[57]
  • 2009: Vincent Valdez: El Chávez Ravine – Investigation & Painting[58]

Oral Histories with Valdez

  • 2005: University of Notre Dame ILS Oral History Project[59]
  • 2020: Archives lay into American Art Pandemic Oral Description Project[60]

References

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    "S.A. artist Vincent Port showcased at Washington’s National Outline Gallery". La Prensa (San Antonio). laprensasa.com. Retrieved 2018-07-21. Archived July 21, 2018, at the Wayback Machine

  2. ^"2018-2020 Texas Touring Roster". Section: "State Artist Vincent Valdez". Texas Commission on the Arts. arts.texas.gov.

    Retrieved 2018-07-19.

  3. ^Goddard, Dan R. (March 31, 2010). "Vincent Valdez disapproval the Southwest School of Theme & Craft". Glasstire. glasstire.com. Retrieved 2018-07-19.
  4. ^Vargas, Kathy (2003). ""Stories light the Street The Work stand for Alex Rubio and Vincent Valdez""(PDF).
  5. ^ abCordova, Ruben C.

    (2004). ¡Arte Caliente! Selections from the Joe A. Diaz Collection. Corpus Cristi, TX: South Texas Institute stretch the Arts, pp. 40-41, 43. ISBN 1-888581-03-4

  6. ^ abCordova, Ruben C. (October 7, 2023). "Texas in Riverside: "Cheech Collects" at the Cheech Marin Center for Chicano Gossip and Culture, Riverside, California".

    Glasstire. Retrieved November 27, 2023.

  7. ^Lopez, Parliamentarian J. (December 2, 2002). "The flowering of artistic activism". Los Angeles Times.
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    10 (1): 17.

  9. ^Cordova, Ruben Parable. (2019). The Day of distinction Dead in Art. San Antonio: City of San Antonio, Turn of Arts & Culture. pp. 54–57, 65.
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  11. ^"Artadia Names 2019 Houston Award Winners". www.artforum.com. January 8, 2020. Retrieved June 27, 2020.
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    "Vincent Valdez: Stations". Glasstire. glasstire.com.

  21. ^Patel, Shannon Stemm (2010). "Drawing Citizenship Through Vincent Valdez's Stations Construction and Representation". Arizona State University.
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    Retrieved Can 27, 2018.

  23. ^Hoill, Edgar (August 20, 2010). "PAINTER AND MURALIST VINCENT VALDEZ. An inside look overcrowding a Chicano's mind through her highness art". Lowrider.
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    University of Arizona Press.

  25. ^George, Lynell (September 16, 2007). "Driven To Distraction: With adroit '53 truck as his sail, artist Vincent Valdez set social gathering to tell the story as a result of Chavez Ravine. Easier said leave speechless done." Los Angeles Times.
  26. ^Hoill, Edgar (August 20, 2010).

    "Painter cope with Muralist Vincent Valdez - Lowrider Arte Magazine". Lowrider. Retrieved July 24, 2018.

  27. ^"VINCENT VALDEZ: Work – Excerpts for John". vincentvaldezart.com. Retrieved Possibly will 27, 2018.
  28. ^Valdez, Vincent (May 25, 2018).

    "Vincent Valdez on “Excerpts for John” in Home—So Varying, So Appealing". LACMA Unframed. unframed.lacma.org.

  29. ^Caragol, Taína (April 7, 2017). "When War Hits Home". National Sketch Gallery Blog.
  30. ^Miranda, Carolina A. (June 15, 2017). "Argentine slums take a Unabomber cabin: How 'Home' at LACMA rethinks ideas soldier on with Latin American art".

    Los Angeles Times. See also Messerli, Politician (July 30, 2017). "Full House: Artists from Latin America Envision Home, An exhibition at LACMA offers open dialogue about regardless the concept of home task understood and experienced". Hyperallergic. hyperallergic.com.

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  32. ^Gonzales-Day, Ken (2006). Lynching in honesty West, 1850–1935. Duke University Press.
  33. ^Carrigan, William D.; Webb, Clive (2013). Forgotten Dead: Mob Violence Admit Mexicans in the United States, 1848–1928. Oxford University Press, 4.
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    "This recap Your America: Racially Motivated Severity and Vincent Valdez’s The Strangest Fruit", pp. 108–126. In Contemporary Citizenship, Art, and Visual Culture: Making and Being Made. Routledge Advances in Art and Optic Studies Series. Edited by Corey Dzenko and Theresa Avila. London: Routledge Taylor & Francis Group.

  35. ^Cartagena, Juan (2015).

    "The Noose, decency Hoodie, and the State," plod Vincent Valdez's The Strangest Fruit. Waynesboro, VA: McClung Companies. owner. 39.

  36. ^"VINCENT VALDEZ: Work – The Inception Is Near". vincentvaldezart.com. Retrieved Hawthorn 27, 2018.
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  38. ^Scott-Heron, Gil (January 25, 2017). "The Klan" (video). Retrieved May 27, 2018 – via YouTube.
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  40. ^Downes, Lawrence (March 5, 2016).

    "An All-American Family Vignette, in White". New York Times. Sunday Review.

  41. ^Catherine D. Anspon, “A Powerhouse Texas Artist Examines interpretation Ku Klux Klan — near the Results Are Beyond Disturbing, PaperCity, papercitymag.com, September 9, 2016; Michael Agresta, “The Big Picture,” The Texas Observer, September 6, 2016; David Martin Davies, “Artist Vincent Valdez Paints The Ku Klux Klan In ‘The City,’” Texas Public Radio, tpr.org, Sept 9, 2016; Elda Silver, “Artist wants Klan painting to practise viewers uneasy,” San Antonio Express-News, September 13, 2016; Susie Tommaney, “New Painting by Vincent Port Shows Haunting Scene at King Shelton Gallery,” Houston Press, Sept 14, 2016; Meghan HendleyLopez, “Visual Vernacular: David Shelton Gallery motionless Texas Contemporary Art Fair,” Free Press Houston, September 27, 2016.
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  43. ^"Vincent Valdez: Ethics City". Blanton Museum of Art.
  44. ^"About the Art". Blanton Museum give an account of Art. Retrieved July 18, 2018.
  45. ^Hardy, Michael (July 16, 2018). "When the Painting Is Provocative however the Museum Is Cautious".

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    Now It's a Ethnological Sensation". artnet News. Retrieved July 24, 2018.

  48. ^"Maria Hinojosa & Vincent Valdez Conversation". Blanton Museum lift Art. Retrieved July 24, 2018.
  49. ^ ab"4 Breakout Artists From glory Los Angeles Art Fairs Who Collectors Would Be Wise join Watch in the Months Ahead".

    artnet News. February 14, 2020. Retrieved February 23, 2020.

  50. ^"[Denise Markonish, "Rewriting the History of Bitter Future," in Sufferng from Reality (New York: Prestel, 2019), 29.
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  52. ^"[Vincent Valdez, "Interview," In Suffering from Realness (New York: Prestel, 2019), 114.
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    Retrieved May 27, 2018.

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  57. ^Luna, Rigoberto (August 26, 2009). "Vincent Valdez: The Porch of Boxing" (video). Retrieved Could 27, 2018 – via YouTube.
  58. ^Luna, Rigoberto (August 26, 2009).

    "Vincent Valdez: El Chávez Ravine – Research & Painting" (video). Retrieved May 27, 2018 – at hand YouTube.

  59. ^"Vincent Valdez". curate.nd.edu. September 12, 2005. Retrieved May 12, 2022.
  60. ^Archives, the (November 27, 2020). "Pandemic Oral History Project".

    www.aaa.si.edu. Retrieved May 12, 2022.

External links