TODAY Hohbach 123 (Green Library @stanfordulibraries.bsky.social ) between 2-4 PM / Oct 13th, view items selected by curators from Humanities & Area Studies that fascinate, provoke -and maybe even terrify- in unique and special forms. Check it Out! @spantoja.bsky.social, @casbsstanford.bsky.social
![Chauche, Daniel. Ser Guatemalteca. [Antigua, Guatemala]: [Ediciones Catherine Docter], 2014. One of 15 portraits of Guatemalan women taken between 1989-2013 printed on Ilford warm tone white 100% rag paper by Daniel Chauche in his Antigua Guatemala laboratory, a coversheet with essay about the work by Guatemalan historian-sociologists Carol Zardetto and Luis Aceituno.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreieieabmglcxnvfbbbibbb4iplimh3kwbigpsrwy4yj2or2ug2jqee)
![José Cerbón "¡Salve Hidalgo!" [Music score]; México: Librería Viuda de Bouret, [1910]. Stanford Manuscripts Collection: MISC 1629. Father Miguel Hidalgo, rebel priest and leading force fighting for Mexico's independence from Spain. https://stanford.io/2YAX6rG](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreib6advzsiy7z6lpduf3elmrs674hf3mfy3kjyy5oyrinxjbofmfza)
![El Rayo del Sur [Movie poster, 1943]. Stanford Manuscripts Collection: M0945 Box 6. *José María Morelos y Pavón (1765-1815). Born into a poor family and most likely had Indian and African blood on his mother's side. He was a student of Hidalgo and joined rebel forces shortly after the Grito de Dolores and assumed the insurgent leadership after the execution of Hidalgo.
In 1813 Morelos convened the Chilpancingo National Assembly where he proclaimed Mexico’s independent from Spain. He was captured in November of 1815 and executed a month later after facing a military court and an Inquisition trial.
He is depicted here in the 1943 movie poster as the heroic Rayo del sur or Southern Thunderbolt](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreigumlaccbcyhn6jfnjoijx4okjtyecceyhjdea3tcnpbiyfdvdgke)
![Chauche, Daniel. Ser Guatemalteca. [Antigua, Guatemala]: [Ediciones Catherine Docter], 2014. "This publication is 15 portraits of Guatemalan women taken between 1989-2013. It includes 15 signed photographs taken and printed on Ilford warm tone white 100% rag paper by Daniel Chauche in his Antigua Guatemala laboratory, a coversheet with essay about the work by Guatemalan historian-sociologists Carol Zardetto and Luis Aceituno, a title list of all pencil-signed images inside a clamshell case crafted from archival book cloth, Guatemalan indigenous woman's skirt fabric, and archival paper. Each photograph is in a mylar sleeve."--Publisher's description. Copy 1 of 20 with 15 signed gelatin silver photographs in mylar sleeves held in a red cloth box lined with Guatemalan textiles. Image: Daniel Chauche https://danielchauche.com/331/](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreihxvnl4jpegp2pltuu63rfkvzxabp4y2fftjzvujapay4ejpycn7u)
![Merida, Carlos and Zadik, Byron. Trajes indígenas de Guatemala; 10 láminas a color por Carlos Merida. Guatemala City, Guatemala, Byron Zadik y Cia., [1950].
Image from portfolio of Merida lithographs documenting the traditional indigenous costumes of several regions of Guatemala, issued by the house of Zadik, which specialized in striking, culturally accurate visual works representing Guatemalan life. Zadik y Cia worked with a number of artists and photographers and became well known for intensely colorful suites of postcards recording daily Guatemalan customs and landscapes. They were arguably the first Central American printing house to use and credit women photographers, publishing work by Helen Williams (a 1940s–50s National Geographic photographer) and Joya Heirs, a Guatemalan-born artist, alongside the extensive photographic output of Julio Zadik, whose credited work extends into the late 1970s and suggests a publishing activity spanning at least five decades.
Carlos Merida (born Carlos Santiago Ortega in Guatemala City in 1893) was a central figure in twentieth-century Central American art, best known for his large-scale mural projects and paintings. Closely aligned with the Mexican muralists in spirit and palette, his work often adopts a distinctive, quasi-cubist geometry and incorporates applied media such as glass, local ceramics, and mosaic. Like Rivera, Orozco, and Gerardo Murillo, Merida was committed to preserving and elevating an indigenous aesthetic, centering Guatemalan folklore, history, and everyday life within a modern visual language.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreifvjzghsh523zramq6o6asff4swdixpbls7t2dmqop2bswu7ysf3q)
![Serizawa, Keisuke. Shinpan Ehon Don Kihōte : Zen 31-Zu Shukusatsu. Gohachi, 1978. The “shrunken” edition of Serizawa’s great collaboration with Gohachi, Shinpan ehon don-kihote [New edition: Picture Book of Don Quixote].](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreicxekgamess4bvqrx2a2k73a2zfbipk2dq4onnkkntfobeujagqju)
![Rendón, Joel. Print "Canasta mexicana" from Semillas de identidad. [Mexico]: n.d. Seeds of identity includes 4 unique letter press images (Mexican Still Life, Turkeys for mole, Cooking an identity and Basket of Mexican treasures) highlighting Mexican food items (like avocados, chiles. corn and tomato) that have become part of a rich culinary tradition within and beyond Mexico's borders. Copy 14 of 16. https://searchworks.stanford.edu/view/13244260.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreibzqaixt7eges67wr25stxdoas2ss4jtmufo3zodkegdu4lnktsza)
![Guerrero Murillo, Marcela and Edinson Montaño [et al]. Hebrando mis raíces[Weaving my roots] https://searchworks.stanford.edu/view/in00000290023. A tribute to Afro identity, history, and cultural resistance, narrated from the perspective of curly hair from an Afro-Colombian young woman. A reflection on displacement, memory, and the symbolic power of hair as a vehicle of resistance and pride. The book uses synthetic fiber to resemble curly hair and is designed to be read bottom up in just the same way as Afro hair grows up and up and up. It’s housed in a box, which has (three-dimensional) braided synthetic hair (Kanekalon) woven into a picture frame design, with a braided knob and hook that serve as a locking mechanism. Bound in printed paper wrappers with a wraparound tab to cover the page edges; pages are double-folded with fold at outer edge. Image: Adan Griego. See also artist's website https://www.hebrandomisraices.com/.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreig7l2a2edexihjkxa4s2udtxawi3zpy2zkmwonn6yetaunodld7q4)
![romero, gino. The Things We Take (and the Things We Couldn't). [New York, N.Y.]: [gino romero], 2024 https://searchworks.stanford.edu/view/in00000462458. Box set containing an assemblage of items comprising 4 artworks, including: sculpted cut-paper flower with miniature book attached; small manila envelope containing metal key and metal tag on metal key ring; muslin teabag containing rosary made of rolled paper beads and cardstock paper cross; plastic LED votive candle and pop-up paper house "altar." All objects are enclosed in a wooden box that replicates a shipping crate. The top lid of the box features three travel stamps in black: "VZLA," "MIA," "NYC", and printed label in red and white: "Fragile, Please Handle With Care, Thank You."
"This set of books is inspired by what one is able to take and what one is forced to leave behind. These books explore the political crisis in Venezuela, diasporic grief, and religion through personal narratives and poems"--Artist's statement. Edition size of 16, signed and numbered by artist on box, colophon, and each individual art piece. Image: https://booklyn.org/catalog/the-things-we-take-and-the-things-we-couldnt/.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreiadepk64sj3fhlwokoeem2h6mt4rwn4iqryphi3i55czlsv64i7e4)
![Soneto: “Quién sino tú, dulcísima María, libró con mano fuerte al Mexícano, del acero feroz de su paisano” [Broadside]. [México]: [s. n.], [ca. 1821]. Stanford Manuscripts Collection: MISC 1630.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreias4jew6726aw7gyuxzyyhhw7vlea4aqlfu2iqe3fk6w44ia23jny)
![El Rayo del Sur. [Movie poster, 1943]. Stanford Manuscript Collection: M0945, Box 6](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreidolp5patyohg4aco3x3ztbk4kijjw3tnbnzwj57tjc6wqm2tz3be)
![Dávalos, Felipe, and Francisco Serrano. La Virgen de Guadalupe [pop-up book]. CIDCLI, 1998. https://tinyurl.com/mt9npp5j](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreibe5gybgaab6dms7l5njrsf4j4c27vy5l7lzswbontzibwhyyqxiq)
![Mujer Valiente, [postcard] ca 1911.
Mexican Revolution Ephemera
Stanford Manuscripts Collection
M1744. https://tinyurl.com/2jfnvfe5](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreiak5zvmvg2fmu6udwaupiwulmra3iy322f2ddkkhze64qrnypvhyy)
![[Soldier with wooden leg, n.d.] Mexican Revolution: Photographs, ca. 1910–1920 Stanford Manuscripts Collection: MSS Photo 205 https://tinyurl.com/3sxadnkx](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreiaci7q3h5cywvkcesuf26ao6c6sjo7zg3vbe4oxhwusth6ngoaeiy)
![Si Adelita se fuera con otro. [Movie poster, 1948]
Mexican Movie Posters, ca. 1940–1969.
Stanford Manuscripts Collection: M0945, Box 7.
https://tinyurl.com/2dwe2yfv](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreiftqiuvnyt5jktrnmbn35u5zymkxc4plajqg33uqnv7qll5e2qbfa)
![José Guadalupe Posada Collection; Gran marcha triunfal [Broadside]; México: Imp. de Vanegas Arrollo https://tinyurl.com/yr3b7mbc](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreig4vxbx2r4n5klnwmzknmfltagsbhumy2k34zn7ti3kg5nipjjqu4)
![*Accordion book 43 [cuarenta y tres] by Lorena Velazquez https://tinyurl.com/3yyzs8v2](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreifie7orz666sko4pnksda62ngxb6fvifkzy5lpuapys2xbkuitbxy)
![José Guadalupe Posada. El panteón de las pelonas [The Graveyard of the Short-Haired Women]. 1924. Wood block print on paper; 15⅝ × 11½ in.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gby57qzaubodqvrtr6eb67wf/bafkreiebox5trwdbh7caeo77uqwv2owpiu4atbixrxsjhovvaolh47sd4e)
