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Yolanda M. López UCLA CHICANO STUDIES RESEARCH CENTER PRESS Yolanda M. López is one of the most visible and influential Chicana/o artists A Ver YO R y and, without a doubt, the best-known woman artist of the Chicano art ev r is to ion is movement. In this book, Karen Mary Davalos pays particular attention to events ing Art H LA in López’s life that affected her artwork—most notably her family’s immigration, TEACHER’S N A VER: REVISIONING ART HISTORY is a series dedicated to her initiation into activism, and her experiences in graduate school. Davalos’s DA bold and theoretically sophisticated analysis demonstrates that López was in the contributions that Latina and Latino artists have made to LÓ M. touch with the postmodern currents of the time. Such a study is long overdue. YOLAN DA M. LÓPEZ American and world art history. Artists featured in the series — Charlene Villaseñor Black, author of Creating the Cult of St. Joseph: Art and Gender in the KAREN MARY DAVALOS include: Spanish Empire PE GUIDE FOR JUDY BACA Karen Mary Davalos provides a model case study for examining Chicana Z / MARÍA BRITO involvement in the civil rights movements of the 1960s and 1970s, showing In this groundbreaking overview of Yolanda M. López’s MARÍA MAGDALENA CAMPOS PONS how the visual arts played a role within those movements, and for thinking CARMEN LOMAS GARZA about what came after. In this study of Yolanda M. López’s life and art, Davalos reveals the ways in which Chicana life and career, Karen Mary Davalos traces the artist’s feminism had to find its own place within both Chicano and feminist movements. Davalos makes a forceful and participation in Bay Area activism in the late 1960s and RAFAEL FERRER Davalos YOLANDA M. LÓPEZ convincing argument that López is best understood as a conceptual artist—moving her and this canonical work from GRONK her subsequent training in conceptual practices. Davalos a rather simple representational relationship with Chicano/Chicana civil rights to a more complex understanding of AMALIA MESA-BAINS explores how López’s experiences informed her art, how images work within political struggles. Yolanda M. López is a valuable contribution to American art history and JOSÉ MONTOYA the emerging field of Chicano art studies. which ranges from posters to portraiture and the highly MALAQUÍAS MONTOYA — Bruce Robertson, Professor, History of Art and Architecture, University of California, Santa Barbara influential Guadalupe series to later installations. López RAPHAEL MONTAÑEZ ORTIZ has consistently challenged predominant modes of Latino CELIA ALVAREZ MUÑOZ and Latina representation, proposing new models of A A VER: REVISIONING ART HISTORY, PEPÓN OSORIO A ver — Let’s see A Ver A SERIES DEDICAT ED TO THE C ONTRIBUTI ONS Ve gender, racial, and cultural identity. Yolanda M. López R y e r OF LATI NO AND L A T I N A ART ISTS T O v r FREDDY RODRIGUEZ is to ion is reveals the complexity of the artist’s work over time ing Art H A MERICAN AND WORLD ART HISTORY JUAN SÁNCHEZ and illuminates the importance of her contributions to VOLUME 2 Chicana/o art, Chicana feminism, conceptual art, and the politics of representation. KAREN MARY DAVALOS is associate professor of Chicana/o studies at Loyola Marymount University and author of Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora $24.95 The CSRC Press is one of the first ethnic and The Mexican Museum of San Francisco. She has published ISBN 978-0-89551-110-2 UCLA Chicano Studies Research Center Press studies presses in the United States. Founded 52495 articles in Aztlán: A Journal of Chicano Studies, Latino Studies, Distributed by the University of Minnesota Press in 1970, it publishes periodicals, books, and various exhibition catalogs and is coeditor of Chicana/ www.chicano.ucla.edu and visual media. Visit us online at Latina Studies: The Journal of MALCS for 2004–2009. 9 780895 511102 www.chicano.ucla.edu. VERONICA ALVAREZ AND THERESA SOTO The A Ver teacher’s guides are supported in part by a grant from the Ford Foundation Yolanda M. López, by Karen Mary Davalos, was published by the UCLA Chicano Studies Research Center Press in 2008. Books in the A Ver series are distributed by the University of Minnesota Press: www.upress.umn.edu The publication of Yolanda M. López was sponsored by Tamar Diana Wilson A Ver: Revisioning Art History is made possible through the generous support of the following institutions: The Andy Warhol Foundation for the Visual Arts, The Ford Foundation, The Getty Foundation, The JPMorgan Chase Foundation, The Joan Mitchell Foundation, The Rockefeller Foundation, UC MEXUS Copyright © 2009 by the Regents of the University of California All rights reserved PUBLISHED TITLES IN THE A VER SERIES Gronk, by Max Benavidez (2007) Yolanda M. López, by Karen Mary Davalos (2008) Celia Alvarez Muñoz, by Roberto Tejada (2009) María Brito, by Juan A. Martínez (2009) A Ver: Revisioning Art History stems from the conviction that individual artists and their coherent bodies of work are the foundation for a truly meaningful and A Ver diverse art history. This series explores the cultural, aesthetic, and R y ev r is to ion is ing Art H historical contributions of Chicano, Puerto Rican, Cuban, Dominican, and other U.S. Latino artists. A Ver … Let’s see! CONTENTS Yolanda M. López: Investigating Images .........................................1 Lesson 1: Challenging Cultural Stereotypes ......................................5 Five Elements of Contemporary Art ..........................................9 Yolanda M. López, When You Think of Mexico. 11 Yolanda M. López, Things I Never Told My Son about Being a Mexican ...............12 Lesson 2: Depicting Your Influences, Creating a Series .............................13 Yolanda M. López, Self-Portrait .............................................18 Yolanda M. López, Mother ................................................19 Yolanda M. López, Grandmother ...........................................20 Yolanda M. López, Runner: Mandeville Center for the Arts ........................21 Yolanda M. López, Runner: Third College Parking Lot ............................22 Yolanda M. López, Runner: On My Own! .....................................23 Lesson 3: The Virgen de Guadalupe: Reinterpreting an Icon .........................24 Traditional Image of the Virgen de Guadalupe .................................28 Yolanda M. López, Portrait of the Artist as the Virgin of Guadalupe ..................29 Yolanda M. López, Untitled (Guadalupe as Venus from Botticelli’s Birth of Venus). 30 Yolanda M. López, Walking Guadalupe .......................................31 Yolanda M. López, Nuestra Madre ..........................................32 Susan R. Mogul, Tableaux Vivant ...........................................33 Additional Resources ......................................................34 A Ver R ev y YOLANDA M. LÓPEZ: is r o ion st INVESTIGATING IMAGES ing Art Hi EXCERPTED AND ADAPTED FROM YOLANDA M. LÓPEZ, BY KAREN MARY DAVALOS Chicana feminist and conceptual artist Yolanda M. López is committed to using her art to chal- lenge viewers’ social and political preconceptions. Through mixed-media, drawings, collages, and paintings, López consistently confronts predominant modes of Latino and Latina repre- sentations, proposing new models of gender, racial, and cultural identity. López was born in San Diego, California, where she learned firsthand the disconnect between the nation’s myths and its realities. In this segregated military town, she was taught that Mayflowerpilgrims were her forefathers. By 1978 she was already acutely aware of racial stereotyping and the concurrent erasure of Mexicans from U.S. history. Her interest in creating dignified and contemporary images of Chicanas emerged from her dissatisfaction with media and popular representations of Mexican and Mexican-origin women, which she could not reconcile with what she saw growing up on the border, as a young adult in the San Francisco Bay Area, or within her own family. INFORMAL TRAINING López’s identity as a Chicana was formed on the picket lines of the Third World Liberation Front at San Francisco State College (now San Francisco State University) and in the streets of San Francisco’s Mission District. She fought for the defense of Los Siete de la Raza, seven Latino youths accused of killing a police officer. She played a significant role in the Chicano Yolanda M. López, Free Los Siete, 1969. Printed in ¡Basta Ya!, no. 3. Yolanda M. López holding “Support Los Siete” poster, Holly Park, San Francisco, ca. 1969. 1 movement in Northern California and did extensive work within the Latino communities of the Bay Area. It was through activism that she learned an art of politics and a politics of art. Her aesthetic expression merged the struggle for equity among women, people of color, the poor, and the workers. López credits her mother, Margaret, for teaching her “never to cross a union picket line.” Margaret worked long hours, especially in the mid-1950s, when she was employed at the Grant Hotel as a presser. She became a union member, at one point serving as secretary. Margaret’s pro-union stance was rare in the conservative town of San Diego, and it shaped López’s own nonconformity and “boldness” as an artist. Like her mother, who divorced two men before the onset of the feminist movement, López did not expect or receive familial rejection or reprimand for her unconventional life. She found multiple ways to express new ideas for Chicana womanhood, including an appreciation for well- made
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