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- Carey Rote, "Antonio E. García: South Texas Regionalist"
"Antonio E. García: South Texas Regionalist"
"Antonio E. García: South Texas Regionalist"
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Symposia Abstracts and Speaker Bios
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2016
- Erika Doss, "Screwball Regionalism: Grant Wood and Humor During the Great Depression"
- Kerry Dean Carso, "Grant Wood and the After-Life of Victorian Architecture"
- James Swensen, "On Common Ground: Grant Wood and the photography of the Farm Security Administration"
- Annelise K. Madsen, "'Something of color and imagination': Grant Wood, Storytelling, and the Past’s Appeal in Depression-Era America"
- Jason Weems, "Grant Wood's Regionalist Camouflage"
- Sue Taylor, "In Springtime: Myth and Memory in Grant Wood's Last Paintings"
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2018
- Betni Kalk, "Artist-Community Collaborative Murals"
- Carrie Ida, "On the Line and Community Engagement"
- Jane Gilmor, "Within and Without: A Socially Engaged Art Practice Investigates the Invisible Worker, Poverty and Community Building"
- Fereshteh Toosi, "Learning in Public: Socially-Engaged Art and Experimental Education"
- David Bright, "Permission, Ownership, Copyright, and Preservation, and Sale of Public Art"
- Lynn Verschoor and Scott Wallace, "Public Art, Private Funds"
- Mandy Vink, "How Saying No to YES became the Catalyst for Boulder's Public Art Program"
- Jen Krava, "Codified Bodies: Tools to Measure Social Liberation and Inculcate Cultural Change"
- Traci Molloy, "Against My Will: A Multigenerational Collaboration with Sexual Assault Survivors from Alfred University"
- Michael LeClere, "Art as an Avenue to Promote Industry, Manufacturing, and Placemaking Amidst the Decline of America's Bread Basket, Rust Belt, and & Rural Communities"
- Desmond Lewis, "Grit and Grind: Memphis Bred Me"
- Dan Perry and Tom Stancliffe, "Public Art Incubator: Fabricating Community Engagement Through Public Art"
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2022
- Valerie Balint, "Yesterday and Tomorrow: Re-framing the Historic Artists’ Homes and Studios Program"
- Joni Kinsey, "Grant Wood’s Studio-Homes: From Hayloft to Mansion, Overalls to Hollywood"
- Olivia Armandroff, "Tiling a Life: Henry Chapman Mercer and His Fonthill Castle"
- Michael Clapper, "Living the Dream: Maxfield Parrish and The Oaks"
- Karen Zukowski, "The Past and Future of Henry Varnum Poor's Crow House"
- Lisa Stone, "Home Based and Life-Specific: Artist-Built Environments"
- Zac Bleicher, "Edgar Miller’s Handmade Homes and Studios of Interwar Chicago"
- Sarah Rovang, "'Thinking on a Wall': Home, Space, and the Creative Practice of Georgia O’Keeffe"
- Daniel Belasco, "The Artist as Builder: Al Held’s Barn Studio, 1965–2005"
- Sean Ulmer, "The Grant Wood Studio: A Space Transformed and Transformational"
- Victoria Munro, "Alice Austen House"
- Helen A. Harrison, "'The Country is Wonderful': Jackson Pollock and Lee Krasner in The Springs"
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2025
- Maya Harakawa, "Benny Andrews and the Problem of Regionalism"
- Erika Schneider, "Inclusive Regionalism: Meta Vaux Warrick Fuller’s Water Boy"
- Carey Rote, "Antonio E. García: South Texas Regionalist"
- Gina Gwen Palacios, "Frontera Regionalism: Art from the Borderlands"
- Liz Kim, "Regionalist Views of Amado M. Peña’s Chicano Movement Posters"
- James Denison, "Beyond Midwestern Realism: Racialized Regionalism in Comparative Perspective"
- David Ehrenpreis, "'Savage Iowa:' Grant Wood’s Vision of Native America"
- Christopher Atkins, "Reimagining Rural America: Grant Wood’s Corn Room"
- Paolo Morales, "Memphis Tulips and Flowering Dogwood: Exploring Racialization of the Photograph through Encounters as an Asian-American"
- Christopher-Rasheem McMillan, "Performing Christian Nationalism in the Midwest: Race, Ritual, and the Other"
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2016
Abstract
Antonio E. Garcia (1901-1996) was a Texas-based artist who developed a Regionalist aesthetic that helped define the art of this region. Born in Monterey, Mexico, Garcia was sent to San Diego, Texas, in 1914 during the Mexican Revolution. He attended the Art Institute of Chicago from 1927-1930. After graduation, he returned to Corpus Christi, Texas, where he built a career by developing his own unique South Texas Regionalism, celebrating both Hispanic and black cultures. His cultural imprint still can be felt in South Texas art today. Like the sculptor, Octavio Medellín and many others, Garcia spent many summers in Mexico to work, to teach, and to integrate Mexican influences into his work. This presentation will explore his particular iteration of Regionalism through social narratives and religious works.
About the presenter
Dr. Carey Rote received her Ph.D. in 1987 from the University of Texas at Austin in the field of Pre-Columbian Art. She arrived at Texas A & M University—Corpus Christi in the fall of 1987 where she has taught for the past 38 years. Dr. Rote is also knowledgeable in the fields of Colonial and Modern Mexico and the contemporary art of the Chicanx movement in the United States. She has several publications and has presented numerous papers. She has also curated a broad number of art exhibitions, including several about the Dia De Muertos celebration in Oaxaca, Mexico. Her current work focuses on the expansion of the Chicanx movement throughout the United States. She just completed a chapter for a book on Jose Francisco Trevino. She also co-curated an exhibition on South Texas Chicanx artists at the Weil Gallery at Texas A & M University-Corpus Christi from November 2024 through February 2025.