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Borderlands Visual Theory & the Art of Luis Jimenez

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University of New Mexico UNM Digital Repository American Studies ETDs Electronic Theses and Dissertations 8-31-2011 Expressions of Another Center: Borderlands Visual Theory & the Art of Luis Jimenez Eric Castillo Follow this and additional works at: https://digitalrepository.unm.edu/amst_etds Recommended Citation Castillo, Eric. "Expressions of Another Center: Borderlands Visual Theory & the Art of Luis Jimenez." (2011). https://digitalrepository.unm.edu/amst_etds/6 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in American Studies ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. EXPRESSIONS OF ANOTHER CENTER: BORDERLANDS VISUAL THEORY & THE ART OF LUIS JIMENEZ BY ERIC CASTILLO B.A., Communication Arts, University of the Incarnate Word, 2004 M.A., American Studies, The University of New Mexico, 2007 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy American Studies The University of New Mexico Albuquerque, New Mexico July, 2011 © 2011, Eric Castillo iii Dedication I dedicate this dissertation to my father Tomás, mother Tillie, and my sisters Tasha and Gracie. Their love, sacrifice, and belief in me made all my successes possible. This journey would have been a lonely one without them. iv EXPRESSIONS OF ANOTHER CENTER: BORDERLANDS VISUAL THEORY & THE ART OF LUIS JIMENEZ BY ERIC CASTILLO ABSTRACT OF DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy American Studies The University of New Mexico Albuquerque, New Mexico July, 2011 EXPRESSIONS OF ANOTHER CENTER: BORDERLANDS VISUAL THEORY & THE ART OF LUIS JIMENEZ BY ERIC CASTILLO B.A., Communication Arts, University of the Incarnate Word, 2004 M.A., American Studies, The University of New Mexico, 2007 Ph.D., American Studies, The University of New Mexico, 2011 ABSTRACT An artist who constantly challenged various social and political boundaries, Jiménez and his art contribute to a growing discourse about U.S. sculpture and 21st century American art. By combining various methodologies such as formal analysis, visual analysis, and critical biography, I will underscore the significance of Luis Jiménez’s art in 21st century American art. Jiménez’s art functions autobiographically; particular moment in his life affected his art in many ways. His time in Mexico City, New York, and Rome are a few pivotal moments that shifted the focus of his art and encouraged him to return to the Southwest where his controversial art was created. My methodological approach is based on a concept I call borderlands visual theory. This methodological practice will consist of a social history of art with close attention to content, context, and connoisseurship. An interdisciplinary method that will facilitate the research design of my project, borderlands visual theory explains the theories and methods of Jiménez’s contemporary artistic practices. Rooted in vi histories of oppression and suffering, borderlands visual theory emerges within a framework of purpose, resourcefulness, and an “against the grain,” anti-border mentality. Grounding my analysis of Jiménez within a larger discussion about American and Chicana/o art will underscore the effective methods Jiménez employed to reach a diverse audience. Jiménez’s artworks offer an innovative conceptualization of aesthetics and cultural identity and critically examine regional and national politics. He offers an understanding about American art that is hybrid, differential, and contingent, rather than pure or monolithic. By examining Jiménez’s artwork within the rubric of borderlands visual theory, I will offer a more fruitful discussion about his resourceful, innovative, and multidimensional practice that contemporary writings about him neglect. Differentiated by his style politics and motivated by his sociocultural interventions, Jiménez authored unique methods that engage with the issues of his time. My project will illuminate various moments of artistic intervention that situate Jiménez within a larger, and arguably a more appropriate, discussion about American art. Luis Jiménez was a titan in the art world; his monumental sculptures and poignant lithographs reveal his commitment for a shared humanity as well as provide a platform for his social and artistic agendas. Jiménez created works of art that combined formal artistic practices with Chicana/o vernacular aesthetics. In addition, Jiménez’s incorporation of classical themes and remarkable attention to form situate his art in distinguished academic categories of sculpture and American art. His innovative use of fiberglass materials and archetypal themes position his unique vii perspective within formalized discussions in art history. The magnitude of Jiménez’s artwork has not been thoroughly documented; because of his ability to cross over into the American art scene, this project will trace out the significant factors that enabled him to cross borders historically closed off to artists of color. viii Table of Contents Introduction ................................................................................................................ 1 Chapter 1 Borderlands Visual Theory: An American Framework ............................. 6 History as Epistemology .................................................................................. 8 Theory & Pedagogy ...................................................................................... 14 Methodologies: Past, Present, and Future .................................................... 22 Figures .......................................................................................................... 33 Works Cited ................................................................................................... 36 Chapter 2 Biography: Luis Jiménez’s America ...................................................... 39 Figures .......................................................................................................... 69 Works Cited ................................................................................................... 72 Chapter 3 Myth & Monument in Old Town Albuquerque: Southwest Pietà and the War of Presiding Histories ............................................................................. 74 Memory ......................................................................................................... 75 History ........................................................................................................... 80 Whose Southwest Pietà? .............................................................................. 90 One Image, Many Meanings ....................................................................... 104 Figures ........................................................................................................ 112 Works Cited ................................................................................................. 120 Chapter 4 The Campus of Enchantment: Challenging Tricultural Harmony in an Institutional Setting through Fiesta Jarabe .................................................. 126 A Not So Enchanting Land... ....................................................................... 129 A Walking Tour of Campus Art .................................................................... 142 ix Fiesta Jarabe and the Larger Context ......................................................... 159 Figures ........................................................................................................ 163 Works Cited ................................................................................................. 169 Chapter 5 A Saint or “Illegal Alien”? Immigration, Citizenship, and the Case of Esequiel Hernández Jr. ............................................................................... 172 Creating Imaginary Borders ........................................................................ 173 El Buen Pastor: A View of the Border ......................................................... 178 The Murder of Esequiel Hernández Jr. ....................................................... 199 Figures ........................................................................................................ 206 Works Cited ................................................................................................. 208 Chapter 6 How the West was Juan: Mesteños, Vaqueros, and Expressions of Another Center in American History ............................................................ 211 Constructing the West ................................................................................. 214 Battling the West: The Progress Series ...................................................... 232 Another Contender for America’s West ....................................................... 253 Figures ........................................................................................................ 257 Works Cited ................................................................................................. 266 Conclusion Reflections of Borderlands Visual Theory and the Art of Luis Jiménez .................................................................................................................... 269 x List of Figures Chapter 1: Figure 1. “Hubcap Milagro Series.” .........................................................................
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