Wednesday, May 15, 2019

My Latest Piece for Joshua Glenn's Amazing HILOBROW.COM site on Gilbert Hernandez, Errata Stigmata, Love and Rockets, and Ocular Ontology now LIVE!

Really excited that my new piece for the #awesome online mag HILOBROW.COM has gone live! See it here: . . . OR . . . keep reading for the longer (unsnipped by Hilobrow editor/magician Joshua Glenn's devilish pruners) director's cut:

Ghost in the Mirror
Gilbert Hernandez's Errata 
Stigmata Revisited
William A. Nericcio 
16 May 2019

Can it ever be written that a comic book panel, or a series of them, changed the career of an English Professor?   

Mind you, please delete the image of a be-tweeded, bearded, white man with leather patched elbows, pipe, and avuncular grin. I am a down and dirty creature of the U.S./Mexican border, and while not quite “street” I am a little scruffier than your average Ivory Tower dandy gringo.

And I am mad about comics—all comics! Richie Rich, Little Audrey, Sad Sack, the Silver Surfer, Betty and Veronica …. Don’t get me started on Betty and Veronica.

As with all images on this posting, click to enlarge!

But it is the comic I pick up in 1985—the one with Gilbert Hernandez’s “Tears from Heaven: The Life and Times of Errata Stigmata” that breaks my mind, or scars my synapses, or wounds my ocular ontological core. 

Errata, a young girl growing up in a fictional Central American town called Palomar (think Mayberry with sex, drugs, and aliens), witnesses the stabbing murder of her parents by a serial killer named Tomaso (we don’t know this in 1985—I would argue that Beto, aka Gilbert, doesn’t know this in 1985, or has not dreamed it up yet).

In that instant, in that witnessing, everything goes to pot, and her destiny is sealed.  She grows up as a precocious young adolescent being raised by a Jewish-American uncle and utterly abusive aunt, Zephie, in the United States.

The result of her murder-filled witnessing?

She suffers from the stigmata, hence her name, that is, she bleeds from the sites associated with the crucifixion of Jesus.

Jesus Christ!

In the panels here, lifted from the original comic, Hernandez focuses (pardon the pun) on the connection between seeing and being: the ocular and the existential.

In the last panel, the one I have dreams about, a dislocated, disembodied eye explodes with viscera across a mutantly giant television screen with Errata mutely witnessing.  I have gone on to to write numerous articles and soon, three books on Latinas/os and Visual Culture and I think all of them come back to that panel—the young orphaned witness with her face, unseen, to the screen.  

The smartest undergraduate I ever “taught” (I am not sure I taught her anything) the independent film maker Diana Contreras, interrupted me when I was lecturing in class about this panel at SDSU in 1991. I was speaking endlessly about the dialectical relationship between witnessing and being, between seeing and existing—you know the drill: “blah blah blah.”

She interrupts my lecture to tell me and my 120 students, "Nericcio, that’s not a TV screen, it’s Errata’s mirror."

I shut up.

I had nothing left to say.

Wednesday, April 17, 2019

Tex[t]-Mex: Seductive Hallucinations of the "Mexican" in America by William A. Nericcio | Best Deal on the Internets!

Click to enlarge | More images below




A rogues' gallery of Mexican bandits, bombshells, lotharios, and thieves saturates American popular culture. Remember Speedy Gonzalez? "Mexican Spitfire" Lupe Vélez? The Frito Bandito? Familiar and reassuring—at least to Anglos—these Mexican stereotypes are not a people but a text, a carefully woven, articulated, and consumer-ready commodity. In this original, provocative, and highly entertaining book, William Anthony Nericcio deconstructs Tex[t]-Mexicans in films, television, advertising, comic books, toys, literature, and even critical theory, revealing them to be less flesh-and-blood than "seductive hallucinations," less reality than consumer products, a kind of "digital crack."
Nericcio engages in close readings of rogue/icons Rita Hayworth, Speedy Gonzalez, Lupe Vélez, and Frida Kahlo, as well as Orson Welles' film Touch of Evil and the comic artistry of Gilbert Hernandez. He playfully yet devastatingly discloses how American cultural creators have invented and used these and other Tex[t]-Mexicans since the Mexican Revolution of 1910, thereby exposing the stereotypes, agendas, phobias, and intellectual deceits that drive American popular culture. This sophisticated, innovative history of celebrity Latina/o mannequins in the American marketplace takes a quantum leap toward a constructive and deconstructive next-generation figuration/adoration of Latinos in America.
What do you get for your hard-earned twenty+ bucks??? A new, hermetically-sealed (for your protection!) copy of William Nericcio's 2007 ALA award-winning book, Tex{t}-Mex: Seductive Hallucinations of the "Mexican" in America.  And at ¡venta venta, venga venga! sale price as Jeff Bezos at Amazon is trying to charge $27.95 for this book! 

The book is shipped (or hand-delivered to you via special courier) along with our selection of two gift prints from the Mextasy Collection! If you want me to "break the seal" and sign the book, just order here and then email me to and tell me how you want it inscribed!

27.95 USD $21.95 USD + FREE shipping!

More images from the book!


Sunday, March 31, 2019

What is Mextasy!? An Introduction to Guillermo Nericcio García' & William Nericcio's "Circus of Desmadres" -- A Traveling Pop-Up Exhibition Coming Soon to a Gallery, Museum, or University Near You!

Mextasy: Seductive Hallucinations of Latina/o Mannequins Prowling the American Unconscious is a traveling pop-up or gallery-based art show/exhibit based on the work of William "Memo" Nericcio and Guillermo Nericcio García. The traveling exhibition was originally curated by Leticia Gómez Franco for Casa Familiar, San Ysidro, California, and Rachel Freyman Brown, South Texas College, McAllen, Texas. It's most recent shows were at the University of Pennsylvania, Binacom/San Diego, the University of Kansas, and Salisbury University.

Mextasy both reflects on and expands upon Nericcio's 2007 American Library Association award-winning book with UT Press, Tex[t]-Mex: Seductive Hallucinations of the Mexican in America. In addition to racist artifacts from American mass culture (the bread and butter of Uncle Sam's unconscious), the show also features works that is "xicanosmotic," that is, works by Mexican-American artists where the delicious tattoo of the Mexican/US borderlands/frontera is writ large as in the deliriously delicious artistic tracings of Raul Gonzalez IIIPerry Vasquez, Rafaella Suarez, and Izel Vargas.

Visitors to this page interested in having MEXTASY invade their local gallery/university of choice should contact us here. For more information and an interview with the curator/artist, go here.

"Not Chicano #1"An Artifact
An excerpt from an unpublished extended interview with Lorena Nava Ruggero, appears below. An other interview, focused more on the Eyegiene project, appears online on Agitprop.

LNR: What is Mextasy? Why did you create it?

WN: Mextasy is an art exhibition featuring outrageous stereotypes of Mexicans and other Latinas/os; additionally, it contains sculptures, drawings, photography, and other media that attack the notion of Mexicans as less-than-human in American mass culture. The show I opened along the Rio Grande river in McAllen (September, 2010) and in Laredo this December, Mextasy, is dedicated to the old motherland and my peculiar fatherland.

Mextasy is more than a representation of ecstasy about or for Mexico; it is about the sensuous tracings Mexican culture leaves both sides of the border. More existential state than archive, Mextasy speaks to the living organism of Mexicanicity as it moves between the bodies of Mexico and the United States--an overt and covert delicious miasma that arouses as it excites, excites as it provokes. ¡Que viva Mexico!, within and without its borders.

LNR: How does Mextasy parallel your book?
Classic Mexican Stereotype!

WN: Tex[t]-Mex: Seductive Hallucinations of the "Mexican" in America features over 200 illustrations, with 16 pages in full color; many of these illustrations are stock representations of Mexicans (the sleeping Mexican, the bandit Mexican, the hot, Latina femme fatale). However, the book also includes original art, digital, photographic and hand-drawn, created by me. You know English Professors are known more for tweed and pomposity than their Picasso-like skills--for that reason I publish all my art under the name of Guillermo Nericcio García, what my name would have been if I had been born 10 blocks south of where I came into the world in Laredo, Texas--a bordertown with Nuevo Laredo, Tamaulipas.

LNR: You're primarily a writer, but this is an art exhibit -- what was it like to create this kind of "content"?

WN: I have been drawing since I was three--I made my own comic book with my sister before I was ten; after that, I was the political cartoonist for my high school newspaper (most infamous drawing? of Vice-Principal Shoup as a zeigheiling facsist for his punitive pedagogy--I was almost expelled and the nuns at St. Augustine tried to censor the paper).

LNR: What will you focus on in your lectures in Texas (I noticed two speaking engagements at libraries)?

WN: I will be focusing on my ongoing forensic work on American visual culture--so I will be dealing with the image of Mexico in the United States but also with our changing optics-obsessed culture in general--from Avatar in 3-D to the IPad, we are living through a watershed moment in textual reproduction where the turn to the visual (the semiotic) is accelerating at a mind-blowing pace. Next year, my new book appears with the University of Texas Press; it is entitled Eyegiene: Permutations of Subjectivity in the Televisual Age of Sex and Race--parts of my talks will be drawn from that work.

LNR: Is there anything else you'd like to add?

WN: I love visiting South Texas--it is like a return to my roots; and though Northern Mexico and South Texas are in cultural chaos right now, the fallout of the Narco Wars hitting this locale hard, I think its important to remind yourself of where you come from. You would think that Southern California and South Texas are the same, but they are like worlds apart.


Other recent Mextasy exhibitions include shows at (pre-boycott!) the University of Illinois Urbana-Champaign at La Casa Cultura Latina, the Centro Cultural de La Raza, in Balboa Park, San Diego, California; at Ann Arbor, Michigan for the Department of American Studies, University of Michigan; in San Ysidro, California (as Xicanoholic) at Casa Familiar; in McAllen, Texas at South Texas College's Pecan campus Art Gallery; at Laredo, Texas at the the Laredo Center of the Arts; additionally, it had an April 8, 2011 opening at the Kamakakūokalani Center for Hawaiian Studies, University of Hawai'i at Manoa; and a run at the Fullerton Public Library with Gustavo Arellano hosting! September 2011 saw Mextasy invade San Antonio College for a Tex[t]-Mex reading/signing and an exclusive South Texas MEXTASY exhibition. In 2012, Mextasy was sighted at Ohio State University; at the University of Guelph, Guelph, Ontario; at theFront, San Ysidro, California; and in Boulder, Colorado, at the University of Colorado for the Ethnic Studies DepartmentWestern University, London, Ontario has also hosted a show, with other exhibitons and presentations at Adrian CollegeUCLA, and Boise State University.

If you are interested in bringing Mextasy to your museum, campus, school, gallery, etc., here is a copy of the standard letter I send out to hosts.  Just contact me at,, or, and I will get back to you right away!

Dear curators,  

I have a traveling exhibition of work
that goes by the name of Mextasy--it is a conglomeration
of Mexican stereotypes artifacts, my own graphic art, and
a select set of curated art that displaces/attacks stereotypes
by established and up and coming young Latina/o artists.
The exhibition has been featured in galleries and also has
appeared as a pop-up event/exhibition at the following


  • Franklin and Marshall College, Pennsylvania, March-April 2018
  • San Diego State University Malcolm A. Love Library (installation), March 2017
  • The University of Kansas, Lawrence, KS, April 2016
  • SDSU, BINACOM, April 2016
  • Cornell University, Department of Comparative Literature, April 2016
  • Arizona Historical Society/University of Arizona, Spanish, February 2016
  • University of Pennsylvania, February 2016
  • Mextasy with Bordertown (Fox TV), Casa Familiar, San Ysidro, CA, November 2015
  • Southwestern College Art Gallery, Southwestern College, Chula Vista, CA, October 2015
  • The University of Kentucky, Lexington, Lexington, KY, April 2015
  • Richland College, Dallas, Texas, February 2015
  • Mi Barra, MextasyTV Premiere, Chula Vista, CA, December 2014
  • The University of Texas, El Paso, October 2014
  • Boise State University, Boise, Idaho, April 2014
  • The University of Illinois, Urbana-Champagne, February 2014
  • The University of California, Los Angeles, November 2013
  • Adrian College, Adrian, Michigan, September 2013
  • The University of Washington, Seattle, Washington,
  • The University of Colorado, Boulder, Colorado, February 2012
  • The University of Texas, Austin, Center for Mexican American Studies, September 2011
  • San Antonio College, Hispanic Heritage Month, September 2011
  • University of Texas at San Antonio, Department of English, September 2011
  • San Antonio College, September 2011
  • University of Hawaii, April 2011
  • California State University, Fullerton, April 12, 2009
  • The Ohio State University, February 2009
  • California State University, Northridge, April 2008
  • The University of Arizona, Southwest Center, April 2008
  • Skylight Books, Los Angeles, November 2007
  • The University of Southern California, USC, November, 2007
  • The University of Texas at San Antonio, November, 2007
  • The University of Texas at Austin, November, 2007
  • The University of San Diego, USD, May, 2007
  • California State Northridge, CSUN, April, 2007
  • DG Wills Bookstore, La Jolla, March 2007
I would love to have the show featured at your
cool institution.   Here are some links to videos
and galleries of images so that you can get a sense of the
CENTRO CULTURAL DE LA RAZA, San Diego, CA 2011 (thanks again to Ozzie Monge and all the cool peeps at the Centro)

SOUTH TEXAS COLLEGE, McAllen, TX 2010 (thanks again to Rachael Brown!)

ADRIAN COLLEGE, Adrian, MI, 2012 (thanks to Aïda Valenzuela!)

UNIVERSITY OF WASHINGTON, Seattle, WA, 2013 (thanks to Jose Antonio Lucero)

... and in these photo series:






I am totally open to any and all arrangements with 
regard to the show!

Here is a generalized menu of costs associated with
the show--understand that the money values cited here
are for reference and that I negotiate individually with
host institutions and definitely cut special deals
for MEChA-style student groups!

EXHIBIT + Sculptures, $4995
Installations, etc…. I would fly out to
install the show in a gallery provided by the
university.  I would assist in staging an opening
gala event, working with students, visiting
classes, doing community outreach, etc etc etc.
Then, a month later, I would fly back to close
the show, break everything down, ship everything
back, etc.  I would charge a set price of $4995
and would be responsible for EVERYTHING,
no muss, no fuss, no bother! A show very similar 
to this was curated at the Ohio State University 
Student Union--you can see some representative 
shots of it here.

2. Middle of the Road-style  
Mextasy Exhibition, $2995.00

Same as above only I only fly out only once to set up
the show and do all the same lectures etc and someone
on your end is responsible for packing up the show
carefully and fed-exing back to me.  $2995.00  A similar
show to this one went down at the University of
Washington's Ethnic American student center--sample
video here:

3. Rascuache-style On the Fly  

Mextasy show, $1995.00

I fly in for a couple of days, Your university providing
airfare, hotel, etc.  I give a series of lectures/presentations
featuring as much of the show I can pack with me
in two suitcases.  You can get a sense of the number
of artifacts/artworks in the show in a similar
show I did for a gallery in Brooklyn a few years

back. $1950

Please confer with your colleagues and let me 
know what you think!

Abrazos from Califas,

Bill "Memo" Nericcio

original posting 11/4/10 | revised 12/11/2010 | Revised again, September 2011 | 
Once again on Thursday, April 10, 2014 | and, still once again, October 4, 2014 |
and, once again, if you can believe it on February 4, 2015 and on January 3, 2017.
Last touched? 21, January 2017! And, revised one last time, Monday, July 30, 2018
before being revised still yet ONE MORE TIME on March 24, 2019!

Limited Edition Mextasy Archival Print: Please Touch the "Mexican" {Ricardo Montalban, edition}


an original digital mashup by guillermo nericcio garcía...

Please Touch the "Mexican" {Ricardo Montalban, edition}
2013, color xeroxography/digital art/found ephemera pasteup

...signed, numbered, and inscribed with a special note...

note, the print is 11x17 on glossy archival paper... it is shipped folded once via us postal service media mail.
$8.95 USD plus $1.00 shipping

Mextasy Limited Edition Archival Print: El Santo {Flying}

El Santo Flying {Mextasy Poster}

Product details

a newly minted 11x17 glossy print on archival paper, signed and numbered by the artist, guillermo nericcio garcía... it is shipped folded once via us postal service media mail.
$8.95 USD plus $1.00 shipping

Limited Edition Eyegiene Print: Eyegiene (Syringe Logo)

Product details

an 11x17 full color glossy print signed and numbered by the artist, guillermo nericcio garcia. mailed via us postal service, media mail, flat.
$8.95 USD plus $1.00 shipping