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Laura Aguilar Interviewed by Carolina Miranda on May 14 and 15, 2014

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Laura Aguilar Interviewed by Carolina Miranda on May 14 and 15, 2014 CSRC ORAL HISTORIES SERIES NO. 17, JUNE 2018 LAURA AGUILAR INTERVIEWED BY CAROLINA MIRANDA ON MAY 14 AND 15, 2014 Chicana photographer Laura Aguilar is most widely known for her black-and-white nude self-portraits. She also created candid portrayals of friends, family, and members of her Chicano/Latino and LGBT com- munities. Her work has appeared in exhibitions nationally and internationally, and in 2017 a retrospective, Laura Aguilar: Show and Tell, was held at the Vincent Price Art Museum in East Los Angeles. Aguilar, who lived and worked in Los Angeles, died in 2018 at the age of fifty-eight. Carolina Miranda is a staff writer for the Los Angeles Times, where she covers art, architecture, design and film for the Culture High and Low blog. Prior to this, she served as staff reporter at Time magazine and was an independent journalist, contributing stories to ARTnews, Fast Company, Architect, Art in America and National Public Radio. She is a regular contributor for KCRW’s Press Play. This interview was conducted as part of the LGBT and Mujeres Initiative project. Preferred citation: Laura Aguilar, interview with Carolina Miranda, May 14 and 15, 2018, Los Angeles, California. CSRC Oral Histories Series, no. 17. Los Angeles: UCLA Chicano Studies Research Center Press, 2018. Illustrations reproduced with the permission of the estate of Laura Aguilar; images courtesy of the UCLA Chicano Studies Research Center. CSRC Oral Histories Series © 2018 Regents of the University of California. All rights reserved. Interview © 2014 Laura Aguilar. Do not reproduce without permission. THE CSRC ORAL HISTORIES SERIES The CSRC Oral Histories Series publishes the life narratives of prominent Chicano and Latino figures. The life narratives have been recorded and transcribed, and the interviewer and interviewee have reviewed and corrected the transcriptions prior to publication. These oral histories are often undertaken as part of a larger research project and in tandem with archival collections and library holdings. CSRC ORAL HISTORY SERIES PROJECTS L.A. Xicano documents the history of Chicana/o art in Los Angeles with a focus on artists, collectives, and art organizations. The project resulted in new museum and library exhibitions, public programs, archival collections, and scholarly publications. These efforts were part of the Getty Foundation initiative Pacific Standard Time: Art in L.A., 1945–1980. The project received support from Getty Foundation, Annenberg Foundation, Andy Warhol Foundation for the Visual Arts, and California Community Foundation. Related support includes funding from Ralph M. Parsons Foundation, AltaMed Health Services Corporation, Entravision Communications Corporation, Walt Disney Company, and individual donors. A Ver: Revisioning Art History stems from the conviction that individual artists and their coherent bodies of work are the foundation for a meaningful and diverse art history. This book series explores the cultural, aesthetic, and historical contributions of Chicano, Puerto Rican, Cuban, Dominican, and other U.S. Latino artists. The A Ver project is made possible through the generous support of Getty Foundation, Ford Foundation, Andy Warhol Foundation for the Visual Arts, Joan Mitchell Foundation, JPMorgan Chase Foundation, and The Rockefeller Foundation. The LGBT and Mujeres Initiative seeks to increase archival and oral history holdings that document the Chicano/Latino presence in LGBT and women’s histories, the role of women and LGBT people in Chicano/ Latino histories, and the importance of gender, sexuality, and ethnicity in “mainstream” scholarly research and archival institutions. The project receives generous support from the Ford Foundation and individual donors. ARTISTS IN THE CSRC ORAL HISTORIES SERIES L.A. XICANO A VER: REVISIONING ART HISTORY Judy Baca Carmen Herrera Charles “Chaz” Bojórquez Joe Holguin* David Botello Juan Sánchez* Barbara Carrasco Leonard Castellanos THE LGBT AND MUJERES Roberto “Tito” Delgado INITIATIVE PROJECT Dora De Larios* Laura Aguilar Richard Duardo Dan Guerrero Margaret Garcia Monica Palacios Johnny Gonzalez Wayne Healy* Judithe Hernández Leo Limón Gilbert “Magu” Luján John Valadez Linda Vallejo *Forthcoming INTERVIEW WITH LAURA AGUILAR MAY 14, 2014 ��������������������� 1 MAY 15, 2014 ��������������������72 Carolina Miranda: All right, so we are recording. This is Carolina Miranda with Laura Aguilar in Rosemead on Thursday, May 15, of 2014. Laura Aguilar: Fourteen. CM: Fourteen. It goes by faster than you ever think. So, I guess, let’s start off with a few basics like, you know, where were you born? Where were you . LA: Oh, okay. I was born in San Gabriel, California. And on my mom’s side I’m the fifth generation that was born in California in the San Gabriel Valley, and the first one that didn’t learn to speak Spanish. [laughs] But, yeah, so that’s where my roots are. CM: So on your mom’s side, fifth generation. So they date back to the nineteenth century? LA: Mm-hmm. CM: Do you know what they came here for? LA: No, they were here before it changed. CM: Oh, they were here before it was [the] US? LA: Yeah, yeah. CM: Oh, okay. LA: And it’s all the women. It’s all the women on my mom’s side of the family. They all married pretty much immigrants. Or, when the law changed and they came back, you know. They—the women never left. The men did, but you know. [laughs] So. CM: So the women are what sort of what tie you to California? LA: Kind of, yeah. This particular area. They started up in where Rose Hills is, which is Whittier, and they slowly moved this way to the mission, and then they turned around and started going back. [laughs] CM: Started going back inland? LA: Back towards, you know, Whittier. Because I grew up over that way. And, you know, this house is made by my mother’s grandfather and her uncles built this house. CM: Oh. LA: And they started it in ’24, 1924, and finished in 1926. So. CM: Building this house? LA: Mm-hmm. CM: That—we’re sitting in front of a white, wood . LA: Yeah. CM: Single-story bungalow. LA: And that cactus started out as a little cactus, and it was here, then it was over here, then it was over there, then it came back to here. [laughs] CM: So it’s not graded— LA: And it’s grown all these years, like ’cause . A couple of years back—more than a couple of years—when I was sort of in my twenties, I guess, this thing had nothing but ivy take over it, you know. And so I slowly, for about five years, cut the ivy off and brought it back to life. But at one point in my cutting, the ivy looked like it was a top hat. Derby hat. CM: Because you had cut everything on the bottom until it was left with an ivy hat? LA: Kind of, yeah. CM: It’s like a tree. There’s something really magnificent about it. Now, so what was your mom’s name? 1 CSRC ORAL HISTORIES SERIES LA: Oh, Juanita. CM: Juanita . LA: Almenta Grisham Aguilar. CM: Juanita Amita . LA: No, no. Juanita Armit—I don’t know how to pronounce it. CM: Juanita Armita. A-R— LA: Okay, just Juanita. [laughs] CM: Juanita. Juanita, and then what was her maiden name? LA: Grisham. CM: Grisham Aguilar. Aguilar was your name, your father’s name? LA: Mm-hmm. CM: And then what was your father’s name? LA: His mother’s maiden name was Guerrero. CM: Okay. And then so he was Guerrero Aguilar— LA: He was— CM: Or he was Aguilar Guerrero? LA: He was Paul, yeah, Guerrero Aguilar. CM: Was he born in the US or was he born in Mexico? LA: He was fifth generation born here. CM: Fifth? LA: First. CM: First generation. So it was his parents that had come? LA: Mm-hmm. CM: Do you know what part of Mexico they came from? LA: The only part we know is that they’re from the state of Guadalup—no. Starts with a G. CM: Guadalajara, or . LA: No, it’s not like . I think it’s [indistinct]. CM: Guerrero? LA: Yeah. CM: Okay. LA: That’s all I know, is that—’cause my grandfather came here. And when my cousins and my dad and his sisters were growing up, he did not want them to speak Spanish. He came here to have a new life for his children, you know. I mean, because they were all born here. And so he didn’t want them to speaking Spanish beyond, you know . They spoke Spanish probably until they went to school, then it was just like, you know. And my grandfather and my grandmother never really got English down, so it’s kind of, you know. I don’t know how the older ones’ sisters got around things. [laughs] CM: How they communicated, how everybody communicated. LA: With their parents, yeah. CM: Exactly. LA: ’Cause my dad’s Spanish was really bad. And when he was in World War II, it’s segregated, so he was with all Latino men. You know, Mexican men, whatever. And they would tease him because he didn’t speak Spanish, or when he did, he was, you know. So he picked up a little bit more in the army and, but he never really mastered it. My mom, who my grandfather who was Irish, wanted his kids to speak Spanish, because the grandparents were here and they didn’t speak any English. And so my mom was very fluent in it, and my dad wasn’t. And people would always laugh at my dad when he spoke Spanish because he wouldn’t pronounce things right. They could get what he was saying, but then .
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