This year marks the 100th anniversary of the death of José Guadalupe Posada (1852-1913). Our annual Day of the Dead exhibit pays homage to this prolific genius printmaker, illustrator, and caricaturist.
Join us in commemorating the man who (The Fancy Lady), and La Catrina created who is considered the most renowned Mexican popular artist. Become a part of the largest Day of the Dead celebration in the United States by joining us at the opening of the exhibit dressed up as the Fancy Lady, the Dandy, or any other of Posada’s famous characters. Altars, installations, popular art, and fine art by more than sixty Mexican artists from both sides of the border are part of this remarkable exhibition.

Este año se conmemora el 100 aniversario de la muerte de José Guadalupe Posada (1852-1913), y a través de nuestra exhibición anual de Día de los Muertos hacemos homenaje al genio prolífico del grabado, la ilustración y la caricatura.
Acompáñenos a celebrar al creador de “La Catrina” y al que es considerado el artista popular mexicano por excelencia. Sea parte del Día de los Muertos más grande en los Estados Unidos y venga a la apertura vestido como la Catrina, el Catrín o uno de los tantos personajes que Posada creó. Altares, instalaciones, arte popular, y obras de arte de más de sesenta artistas mexicanos de los dos lados de la frontera son parte de tan importante exhibición.

This international collaboration has a double purpose. On one hand, it is to pay homage to the most important and celebrated Mexican printmaker who was able to take the pulse of Mexico’s daily life from the end of the 19th to the beginning to the 20th Century. On the other hand, it is to create a collaboration bridge and bring closer together graphic artists from several countries –through this collaboration and the exhibition of this print portfolio in each represented country. As artists we frequently find ourselves limited as far as the possibilities of presenting our works in other countries; because of the high cost of framing, packing, crating, shipping and publicity. This is especially the case when we don’t have gallery representation –and even when we have it- to promote within and outside the country of residency. Graphic works offer us the possibility to send them inexpensively and to present them in multiple spaces, even simultaneously. Because of the fact that they are editions or multiples, prints allow us to equally participate in multiple exhibition spaces. This homage portfolio takes place in the year of the centennial of Posada’s death in 1913 and hence the title. This occasion gives us the opportunity to look back and consider the influences Posada has had in subsequent generations of artists, through the century that end this year. Jose Guadalupe Posada Aguilar (1952 Aguascalientes – 1913 Mexico City) aside from having been one of the world’s most prolific printmakers –more than 5,000 prints have been identified but it is estimated that he produced more than 20,000- was a printmaker who defined and gave a face to the essence of being Mexican. The people of Mexico saw themselves reflected in Posada’s works for the first time, and in an authentic manner. Posada was the first one to move away from the European cannons that until then predominated in the country and which reflected more than anything else a Eurocentric New Spanish sense. Eloquently and in an up-to-date manner Posada was able to reflect his time and the space of his country, its people and culture. He achieved this to the point –surely without having been his intention- he created and identity of being Mexican, of how Mexicans saw each other and no longer from the perspective of European eyes. To this end he used innumerable illustrations for children’s stories, recipe books, song books, news about natural catastrophes (earthquakes, floods, comets, etc.) historical accounts, rural and urban injustices, war, politics, common people, clergy, killings, thefts, religious images and his sharp and always humoristic popular skeletons. Nothing and no one escaped from his precise and assertive pulse which captured the essence of the news and the experience of Mexicans. We see pictured for the first time a lady in the corner making tortillas and selling tacos on the sidewalk, a peon carrying straw or firewood on his way home, and a great party with skeleton dancing, having drinks, and happily eating. Equally Posada gives us images criticizing to clergy and the demagogic politicians as well as commentaries to the war accounts of his time like the French invasion, Porfirio Diaz dictatorship and the Mexican Revolution. Posada was the artist who portrayed his country like no one else before him had done. With that same spirit, a group of 28 artists from Costa Rica, Puerto Rico, Nicaragua, España, Canada, Mexico and the United States were invited by Arceo Press from Chicago to create a graphic image as homage to Posada’s legacy. Each participating artist, with their preferred style and graphic medium captured aspects of contemporary life linked in some way to Posada’s vision or artistic tradition. The result is, as these images convey, a rich and varied collection of images that contribute to enrich the vision of contemporary graphics. As it is now a tradition with Arceo Press, these works made specifically for this homage will be shown –in each represented country- in community centers, art galleries, houses of culture, museums or university galleries interested in promoting and sharing with their audiences the results of this collaboration. And in this way complete the cycle that goes from the artist and the creation to the audience and their interaction with the works of art in accessible public spaces. With the publication of Posada: 100 Year Legacy Arceo Press celebrates a decade of collaborations with artists from diverse countries who have contributed to enrich each of the themes of the portfolios produced almost annually. René Arceo Arceo Press Chicago Illinois, July of 2013