DOCSLIB.ORG

A Wall of One's Own: Latinas Reclaiming Spaces, Subverting

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Wall of One's Own: Latinas Reclaiming Spaces, Subverting A Wall of One’s Own: Latinas Reclaiming Spaces, Subverting Economies, Empowering Communities1 Carmen M. Méndez-García Universidad Complutense de Madrid, Spain. _____________________________________________________________________________________________ Abstract This article analyzes issues of gender, space, and ethnicity in three different pieces: Coco Fusco’s performance A Room of One’s Own: Women and Power in the New America (2006), the mural painting Latino America (1974) by the Las Mujeres Muralistas group, and the Venas de la Mujer installation (1976) at the LA Women’s Building by the Las Chicanas group. Though created in two different temporal contexts, the three pieces are connected by Virginia Woolf’s idea of the space as “room of one’s own,” and thus share an understanding of the complexity of issues, such as female creativity, the portrayal of/appropriation by women of spaces traditionally considered to be masculine, and the ephemerality of certain artistic media. By studying the three pieces in their geographical, social, and artistic context, I intend to demonstrate that issues denounced by the Chicano Civil Rights Movement (also known as El Movimiento) and the Feminist Movement in the 1970s are still unresolved in 21st century America. Keywords: Coco Fusco, Las Mujeres Muralistas, Venas de la Mujer, space, gender, Latinas. https://doi.org/10.26262/exna.v0i3.7552 ____________________________________________________________________________________________ Fifty years after the promise of the Long Sixties, categories essential to the Civil Rights Movement such as gender or ethnicity, seem to be more contested and as pertinent as ever in contemporary America. Performances by Cuban-American artist Coco Fusco, while clearly rooted in the 21st century, can be illuminated by their comparison to pieces from the 1970s: at a time when both a feminist and a Latino consciousness were being created, these pieces touch upon similar topics, share a common political intent, are equally affected by and dependent on issues of ephemerality, and are deeply concerned with the portrayal and essence of femininity and Latinidad. In the following pages, I intend to analyze Coco Fusco’s A Room of One’s Own: Women and Power in the New America (2006) and its connections to the work of two groups of women artists from the 1970s: Las Mujeres Muralistas, working in San Francisco, and the collaborative art installation Venas de la Mujer, exhibited in the Los Angeles Woman’s Building in 1976. Virginia Woolf’s 1929 “A Room of One’s Own,” an instigation for women to find spaces of their own for creativity, is central to Fusco’s piece, and also resonates in the media 1 This article was written as part of the research conducted for the Project “Troubling Houses: Dwellings, Materiality, and the Self in American Literature” (FFI2017–82692–P), MINECO/AEI/FEDER, UE), funded by the Spanish Government and the European Union. Ex-centric Narratives: Journal of Anglophone Literature, Culture and Media; Issue 3, 2019; eISSN: 2585-3538. ©2019 The Authors. This is an open access article under the terms and conditions of the Creative Commons Attribution ShareAlike 4.0 International License (CC-BY-SA 4.0). See http://creativecommons.org/licenses/by-sa/4.0/. 110 Carmen M. Méndez-García (walls) and venues chosen by other Latina artists, as all of them navigate issues of representativity, gender, ethnicity, the creation of art, and its permanence in their communities. Spectators attending Fusco’s performance piece A Room of One’s Own: Women and Power in the New America (2006) may be surprised by her appearance in military gear and her ode, before the start of what looks like a military briefing, to the Secretary of State, Condoleezza Rice, who is pronounced as a model of emancipated, empowered womanhood in a “loving lyrical tribute ... that sounds like an early American religion hymn” (Muñoz 137). While the association of female independence and military discipline is in itself problematic, it is in the third section of the performance that the “room” of one’s own in the title becomes apparent. This room is not a home or a domestic space, but an interrogation room where a male prisoner is being tortured by a woman: the ironic undertones of the title, thus, refer not only to the room itself, but also to ideas of “owning” the space and to what the “power” of women in such a room could be. Fusco’s piece came out a couple of years after photographs and videos of Abu Ghraib and Guantánamo surfaced, showing female soldiers as interrogators and perpetrators of violence, specifically using sexual harassment on Muslim men. The piece is, therefore, a response to the concerns of uncomfortable viewers (including Fusco, who was disturbed by such images), trying to reconcile the “empowerment” of women in the military with the fact that said empowerment is happening in spaces of torture. For Fusco, the images from those prisons go against the long- standing feminist tenet of women as victims (Beckman 127), not agents, of violence. The demands that Woolf puts forward in her seminal piece “A Room of One’s Own” (1929), such as female empowerment through economic independence and a space one could claim one’s own, are displaced by Fusco: from a tranquil setting, where women could create art, to a claustrophobic setting of torture and violence, where women are seen as destructive, following orders and using their femininity as a weapon to extract information from male prisoners, using sexual innuendos as “special tactics by female interrogators” (A Room 144). Fusco presents herself to the audience in military attire, trying to explain to her audience the rationale behind the use of “women’s weapons” to interrogate suspects. The piece adopts the setting of a press conference, and uses familiar formats (slides, video) and an argumentative rhetoric, all of which tries to portray normalcy and reminds the audience of the civilized setting of a lecture hall. The audience is informed that, “At the onset of the new millennium, American women finally have what they need to demonstrate their prowess” since “the War on Terror offers an unprecedented opportunity for the women of this great country [America]” (A Room 143). Spectators watch the interrogation scenes through a simulated CCTV, a technology that guarantees safety and distance from the interrogation room, while exploiting the voyeuristic, spectacle-like quality of torture by broadcasting what is happening inside the room. The domains of private and public, which have dominated much of the discourse about gender inequality, are thus questioned alongside the idea of “empowerment” they suggest. Fusco explicitly reminds the audience of how it was “the great British writer Virginia Woolf who argued that every woman had to have a room of her own in order to manifest her strengths” (A Room 142). However, in her performance, empowerment seems to be equated with violence and harassment, and the female “strengths” (A Room 142), the A Wall of One’s Own 111 “special tactics” mentioned above, rely on an explicitly sexual interpretation of femininity that Fusco has described as “the phenomenon of instrumentalized female sexual violence” (“Artist’s Statement” 139) with interrogators using tactics that go “from sexually inflected insults all the way to stripping down to sexy lingerie under the uniforms and rubbing their genitals against these men” (“Operation Atropos” 83). Fusco acknowledges that there are no pictures of women doing this, but there are testimonies both by women interrogators who were party to such events or by those who witnessed them: Fusco’s intention is, then, to capture the ephemeral use of space by performing “this material, which is politically volatile, but also dramatically powerful” (“Operation Atropos” 83). From the room as a private space of liberation and creativity imagined by Woolf, where men and distractions were barred, Fusco takes us to a CCTV space of exposure and shame, where the woman is an agent, but only by abusing men, exerting “vicarious power” by following orders, with the surveillance cameras recreating what Fusco recognizes as a “theater of cruelty,” following Stephen Eisenman’s book The Abu Ghraib Effect2 (Copeland 5). The female soldier is shown invading the personal space of the prisoners, in what can only be read as a very disturbing idea of the “empowerment” of women in what Fusco calls the “New America,” but also performing, i.e. the piece is placing itself in a “mass cultural tradition of theatricality and display” (Copeland 5). Fusco has stated that while torture is “indeed painfully real,” it is the elements of theatricality and performance in it that produce results, emphasizing how a large number of interrogators in the military have dramatic performance backgrounds (Fusco and Ritz 154). In real-world interrogation rooms, Fusco and Mike Ritz explain, “much thought is given to items (props) within the room, lighting, and sound to create an atmosphere for the source that is conductive to talking” (156). In her performance, Fusco describes these spaces as “simple rooms, furnished with nothing more than a desk and a couple of chairs ... sanctorum of liberty, [where] American women are using their minds and their charms to save American lives” (A Room 143). The artist is clearly creating a comparison between Woolf’s ideal room as a space conductive to creativity, a space that isolates women from the ever-distracting realities of the domestic world, and the artificial setting of the interrogation chamber, where a very different kind of “narrative” is created in the interaction between interrogator and prisoner. By making the interrogator be female, Fusco is, on the one hand, replicating the contemporary reality of the “disproportionately high number of women involved in areas of the military that are not combat related ... [such as] intelligence” (“Operation Atropos” 83), but also emphasizing how, even in the military, the strengths that women can act out are highly sexualized, with “sexual harassment as a particularly gendered and culturally specific strategy designed to break Muslim men” (“Operation Atropos” 83).
Load more

Recommended publications
  • Copyright by Cary Cordova 2005
    Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez.
    [Show full text]
  • La Memoria De Nuestra Tierra: Sites of Public Memory
    Syracuse University SURFACE Imagining America Scholarship in Action 2008 La Memoria de Nuestra Tierra: Sites of Public Memory Judith F. Baca Follow this and additional works at: https://surface.syr.edu/ia Part of the Arts and Humanities Commons Recommended Citation Baca, Judith F., "La Memoria de Nuestra Tierra: Sites of Public Memory" (2008). Imagining America. 5. https://surface.syr.edu/ia/5 This Report is brought to you for free and open access by the Scholarship in Action at SURFACE. It has been accepted for inclusion in Imagining America by an authorized administrator of SURFACE. For more information, please contact [email protected]. Las Caminantes La Memoria de Nuestra Tierra: Sites of Public Memory by Judith F. Baca Foreseeable Futures #8 Position Papers from Artists and Scholars in Public Life Dear Reader, The pages that follow contain a quarter of the images and two thirds of the words that constituted muralist Judith F. Baca’s keynote address at Imagining Ameri- ca’s 2008 national conference, Public Engagement in a Diverse America: Layers of Place, Movements of People. The text explores an idea that is deceptively simple: the land has memory. But look closely at the images that form the spine of the argument, photographs of a mural along a flood control channel in the San Fernando Valley. Baca created this Great Wall of Los Angeles with people hungry to know forgotten histories of their land and inscribe them for the future. Each of these images excavates another layer of a complex story. Baca has been putting inclusive mural-making teams together for over three decades.
    [Show full text]
  • Arte Queer Chicano
    bitácora arquitectura + número 34 EN Arte queer chicano Uriel Vides Bautista A mediados de 2015, la Galería de la Raza exhibió un mural que provocó triarcales de la sociedad dominante y los valores hegemónicos de la mascu- una acalorada discusión en redes sociales y actos de iconoclastia contem- linidad chicana, reafirmando a la vez el hecho de ser bilingües y biculturales poránea. El mural, que representa a sujetos queer, fue violentado tres veces dentro de Estados Unidos. consecutivas debido a cierta homofobia cultural que prevalece dentro de un sector de la comunidad chicana asentada en Mission District, San Fran- cisco. El contenido de esta obra y la significación dentro de su contexto son II algunos aspectos que analizaré a lo largo de este breve ensayo. El mural digital de Maricón Collective se inserta dentro de la tradición mu- ralista chicana, que tiene su origen en los murales que “los tres grandes”8 pintaron en distintos lugares de Estados Unidos, pero principalmente en I California. Mientras que en México el muralismo agotaba sus temáticas y La Galería de la Raza se encuentra ubicada en la 24th Street de Mission agonizaba junto con la vida de Siqueiros, en Estados Unidos resurgía de for- District, el barrio más antiguo de San Francisco.1 Este barrio fue en la década ma asombrosa gracias al Movimiento Chicano. Durante este periodo, según de 1970, en palabras del historiador Manuel G. Gonzales, “el corazón del George Vargas, los barrios chicanos de las principales ciudades del país se movimiento muralista de la ciudad”. La proliferación de murales fue impul- cubrieron de coloridos murales que, realizados de manera comunitaria, ex- sada, en este periodo, por los aires renovadores del llamado Movimiento presaban temas fundamentales para la comunidad como la raza, la clase, el Chicano.2 Ante la falta de espacios adecuados para la recreación y el espar- orgullo étnico y la denuncia social.9 cimiento, artistas y activistas chicanos pugnaron por la creación de centros En un ensayo, Edward J.
    [Show full text]
  • Hombres Y Mujeres Muralistas on a Mission: Painting Latino Identities in 1970S San Francisco
    HOMBRES Y MUJERES MURALISTAS ON A MISSION: PAINTING LATINO IDENTITIES IN 1970S SAN FRANCISCO Cary Cordova American Studies, Dickinson College, Carlisle, PA Abstract This article argues for the importance of murals as cultural texts, consciously formed to entertain, influence, and solidify local and transnational communities. In 1974, two teams of artists painted two legendary murals in San Francisco’s Mission District: In ‘‘Homage to Siqueı´ros,’’ the trio of male muralists presented themselves as heirs to famed Mexican muralists in order to solidify their indictment of conditions in the Americas and counter the participatory role of their patron, the Bank of America. In ‘‘Latino America,’’ the female muralists rejected the Chicano Movement’s emphasis on Mexican masters and declared a new feminist, collaborative iconography. Although the murals were dissimilar in terms of gender, approach, and aesthetics, the muralists were joined in their desire to unite the local Latino community through their depictions of a shared homeland, or an imagined Latin America. This article highlights the aesthetic, cultural, political, gendered, and regional dimensions of Latino identities through the lens of mural creation. Keywords community murals; pan-Latino identity; iconography; Mission District ‘‘An explosion of human colors’’: Murals in ascendance Since the late 1960s, cultural workers in San Francisco’s predominantly Latino Mission District have produced an impressive body of literary and artistic work. Their creative milieu was important in helping to mobilize the Chicano movement and spurring a Latino cultural renaissance of local and Latino Studies 2006, 4, (356–380) c 2006 Palgrave Macmillan Ltd 1476-3435/06 $30.00 www.palgrave-journals.com/lst Hombres y Mujeres Muralistas on a Mission ------------------------------------------------------------------------------------------------------ Cary Cordova 357 national significance.
    [Show full text]
  • Making a Difference in Our Communities Through Art an Exploration of Collaborative Art & Public Art and Their Connection to Community Building
    Sarah Jayne Bleiweis, 2010 Making A Difference In Our Communities Through Art An Exploration of Collaborative Art & Public Art And Their Connection to Community Building An Integrated Interdisciplinary Unit for 5th Graders In the Visual Arts & English Language Arts STAGE 1- DESIRED RESULTS UNIT RATIONALE: This unit explores art as a means for making a difference in our communities, focusing specifically on collaborative art and public art. The students will build upon their experiences of the collaborative art process, introduced in the previous unit, in order to gain a better understanding of how public art can make a difference in the lives of the community members who encounter it on a daily basis. Students will be encouraged to study the different Judy Baca. Dancers (tentative title) 2009 ways that artists from around the world use art to empower In progress work for the Latino Fine Arts Center in Dallas, Texas. entire communities, and how both collaborative art & public art can help foster a strong sense of community identity. The first lesson will begin with a long-term mural project, where students will work together to first determine where their mural should be located at, and what the message & image of their mural should be. Students will meet a local artist-activist from their community, who will visit the school to talk to students about the various forms of public art located throughout the city of Boston. The class will also learn about artists Judy Baca and Diego Rivera, two community-activists & artists, who have successfully made a difference through creating public works of art that addressed the opinions & issues of the surrounding community.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Judy Baca
    UNIVERSITY OF CALIFORNIA Los Angeles Judy Baca, SPARC and A Chicana Mural Movement: Reconstructing U.S. History Through Public Art A dissertation in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Juan Pablo Mercado 2018 ã Copyright by Juan Pablo Mercado 2018 ABSTRACT OF THE DISSERTATION Judy Baca, SPARC and A Chicana Mural Movement: Reconstructing U.S. History Through Public Art by Juan Pablo Mercado Doctor of Philosophy in History University of California, Los Angeles, 2018 Professor Juan Gómez-Quiñones, Chair This dissertation is about the uses and function of public art and makes the argument that public art should be viewed as an historical project. When developed within the framework of a collaborative community project with a thoughtful consideration to the experiences, values, and aspirations of community members, these projects challenge neocolonial tenets of exploitative labor conditions, racism, homophobia and sexism. By imagining public art as an innovative process that crosses the boundaries of social justice, history, and collective memory, Judith F. Baca established, and the Social and Public Art Resource Center (SPARC) employed a form of remembering that served as an essential component to understanding how communities envisioned themselves, their struggles, and their ability to transform history. Reimaging certain flashpoints in U.S. history through the historical projects of public murals urges a more nuanced consideration of the past that dislodges narratives of de jure and de facto discrimination and ii racial violence. What results from this reconsideration is a construction of multiple histories that challenge universally venerated, yet often distorted legacies of this nation.
    [Show full text]
  • Hispanic Access a TOP TEN LIST of PLACES IMPORTANT to THE
    ACCESS WHITEPAPER SERIES PLACE, STORY & CULTURE A TOP TEN LIST OF PLACES IMPORTANT TO THE LATINO COMMUNITY AND IN NEED OF PRESERVATION PREPARED BY LATINO HERITAGE SCHOLARS: MANUEL G. GALAVIZ , NORMA HARTELL, ASHLEYANN PEREZ-RIVERA ADVISED BY: JENNIFER BRANDT, JESSICA LOYA, AND JOSEPHINE TALAMANTEZ Hispanic Access Foundation Hispanic Access Foundation TABLE OF CONTENTS EXECUTIVE SUMMARY 3 INTRODUCTION 5 TYPES OF PROTECTIONS 7 #1: PUEBLO OF TORTUGAS 8 #2: THE TRUJILLO ADOBE 10 #3: CORPUS AQUINO GALLEGOS RANCH 12 #4: CASTNER RANGE 14 #5: RIO VISTA FARM 16 #6: MCDONNELL HALL 18 #7: FORTY ACRES 20 #8: SANTA RITA HALL 22 #9: LINCOLN HIGH SCHOOL 24 #10: BALMY ALLEY 26 ENDNOTES 28 BIBLIOGRAPHY 30 2 Hispanic Access Foundation EXECUTIVE SUMMARY Numerous sites dot our American landscapes and cities that tell a different story about our past. Places that embody the architectural, cultural and deep historical roots of the Latino community within the shared national identity. In an effort to provide insight into the vast amount of sites that deserve protection and merit official recognition, the Latino Heritage Scholars have developed a top ten list of historic sites associated with Latino heritage worthy of consideration. These sites are organized chronologically: #1: Pueblo of Tortugas Located in southern New Mexico, Tortugas Pueblo is representative of mestizo identity. It is full of history and culture with traditions that represent the blending of indigenous Native American and Hispanic cultures unique to the area. #2: The Trujillo Adobe Built in 1863, the Trujillo Adobe is one of the last remnants of the original settlements of Riverside, California.
    [Show full text]
  • Chicana/O Artivism: Judy Baca’S Digital Work with Youth of Color." Learning Race and Ethnicity: Youth and Digital Media
    Citation: Sandoval, Chela, and Guisela Latorre. “Chicana/o Artivism: Judy Baca’s Digital Work with Youth of Color." Learning Race and Ethnicity: Youth and Digital Media. Edited by Anna Everett. The John D. and Catherine T. MacArthur Foundation Series on Digital Media and Learning. Cambridge, MA: The MIT Press, 2008. 81–108. doi: 10.1162/dmal.9780262550673.081 Copyright: c 2008 Massachusetts Institute of Technology. Published under Creative Commons Attribution-Noncommercial-No Derivative Works Unported 3.0 license. Chicana/o Artivism: Judy Baca’s Digital Work with Youth of Color Chela Sandoval University of California, Santa Barbara, Department of Chicano/a Studies Guisela Latorre Ohio State University, Department of Women’s Studies Introduction Arnoldo’s Brother (see Figure 1) watches us watching him from out of one of the most powerful digital media labs in the country, the Ce´sar Cha´vez Digital Mural Lab, located in the Social and Public Art Resource Center (SPARC), a production facility devoted to creating large-scale digitally generated murals, educational DVDs, animations, community archives, and digital art. Arnoldo’s Brother, a digital mural created by Chicana artist Judy Baca and UCLA students, is an avatar rising out of these technologies, a modern-day Chicano cyborg. Arnoldo is a fourteen-year-old boy, a figure created through the minds and souls of the young people who have come to the SPARC teaching facility, led by Baca, to testify and witness on behalf of their communities. Their offering to SPARC is a photo of one of these artists’ younger brother, which they then Photoshopped into an artwork that tells one story of Chicana/o consciousness at the turn of the millennium.
    [Show full text]
  • Distinguished UCLA Professor Judith Francisca Baca 685 Venice
    Distinguished UCLA Professor Judith Francisca Baca 685 Venice Boulevard Venice, California 90291 (310) 822-9560 x14 [email protected] www.judybaca.com www.sparcmurals.org/ucla Education (p2) Employment (p2) Fellowships (p4) University Committee Service (p5) Community Service (p5) Professional Societies/Affiliations (p6) Awards and Achievements (p9) Awarded Commissions: Works in Progress (p14) Awarded Commissions: Completed (p15) Recent Museum Acquisitions (p20) Exhibitions: One Woman Shows (p21) Exhibitions: Group Shows (p23) Curations (p30) Keynote Addresses (p31) Lectures and Panels (p36) EDUCATION Master of Art Education California State University, Northridge, 1979 Intensive Course in Mural Techniques Taller Siqueiros, Cuernavaca, Mexico, 1977 Bachelor of Arts Degree in Art California State University, Northridge, 1969 EMPLOYMENT University of California, Los Angeles 2002 – present World Arts and Culture Department 1996 – present, Professor VII, Cesar E. Chavez Center • Primarily Undergraduate teaching through cross-listed courses in Fine Arts, World Arts and Culture and Chicano Studies on Mexican Muralism, Chicano/a Art and public monuments. • Development of the Cesar Chavez Digital Mural lab in the community at SPARC, for teaching service based learning courses in the arts through public art productions for community sites and research on new mural techniques in Digital Imaging. 1996 – 1998 Vice-Chair, Cesar E. Chavez Center Antioch University, Los Angeles April 2004-2006, Consultant • Assist in developing Master in Fine Arts in
    [Show full text]
  • How and Why Is Toypurina Remembered Differently by Different Groups of People?
    CURRICULUM PROJECT HISTORICAL INQUIRY QUESTION How and why is Toypurina remembered differently by different groups of people? LOST LA EPISODE Borderlands How and why is Toypurina remembered differently by different groups of people? Author of Lesson Emily Waldron El Rancho High School [email protected] @ERHSWaldron Content Standards This lesson was created for Ethnic Studies and US History teachers. There are no content standards for 11th grade that address Toypurina and Spanish colonization of California. CCSS Standards CCSS.ELA-LITERACY.RH.11-12.9: Integrate information from diverse sources, both primary and secondary, into a coherent understanding of an idea or event, noting discrepancies among sources. CCSS.ELA-LITERACY.RH.11-12.7” Integrate and evaluate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, as well as in words) in order to address a question or solve a problem. CCSS.ELA-LITERACY.WHST.11-12.1.A: Introduce precise, knowledgeable claim(s), establish the significance of the claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that logically sequences the claim(s), counterclaims, reasons, and evidence. CCSS.ELA-LITERACY.SL.11-12.1: Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively. CCSS.ELA-LITERACY.SL.11-12.2: Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data.
    [Show full text]
  • Mm September
    Fine Arts Museums of San Francisco de Young Legion of Honor Media contact: Robin Wander [email protected] 415-750-2604 MEDIA ALERT WHO: Cultural Encounters: Friday Nights at the de Young presents Mission Muralismo in partnership with Precita Eyes Muralists and Intuitive Impressions in partnership with the San Francisco Bay Guardian. WHAT: Mission Muralismo Film Series Part 2 A spectacular evening of rare and cutting edge, old school and new school, Mission film making that shadows and illuminates Mission art and life. The films mirror the themes and history chronicled in the book Street Art San Francisco: Mission Muralismo. The evening’s highlight is the world premiere of Why I Ride: Low and Slow. Filmmakers and artists represented in the film will participate in a Q & A following the screening. Intuitive Impressions includes palm and tarot card readings, henna by Holistic Henna, live music by the gypsy jazz sextet Gaucho, and DJ Schmeejay. WHEN: September 3, 2010 Details: 6:00–8:30 pm Wilsey Court Enjoy French music classics with DJ Schmeejay and live gypsy jazz with Gaucho. 6:00–8:30 pm Wilsey Court Tarot card readings and henna by Holistic Henna in the Piazzoni Murals Room and art-making with Mademoiselle Kim. 7 pm Koret Auditorium Mission Muralismo Film Series Part 2 Street Art San Francisco: Mission Muralismo film series presents Film Series Part 2––Cutting edge independent local films including the world premier of Why I Ride: Low and Slow and rare archival footage of early Mission District murals. Filmmaker discussion follows. WHERE: de Young Museum, Golden Gate Park COST: Programs are free of charge INFO: www.deyoungmuseum.org and www.MISSIONMURALISMO.com ________________________________________________________________________ San Francisco, August 2010––On Friday, September 3, the de Young Museum presents another dynamic program in the ongoing series Mission Muralismo in conjunction with the recently published book Street Art San Francisco: Mission Muralismo, edited by Annice Jacoby for Precita Eyes Muralists, foreword by Carlos Santana (Abrams, 2009).
    [Show full text]
  • Concrete History: Chicana Muralist Judith F. Baca Goes from the Great Wall to the Museum Wall | Artnews
    Concrete History: Chicana Muralist Judith F. Baca Goes from the Great Wall to the Museum Wall | ARTnews The leading source of art coverage since 1902. ARTISTS FEATURES SPRING 2017 , THE UNDERRATED ISSUE Concrete History: Chicana Muralist Judith F. Baca Goes from the Great Wall to the Museum Wall BY Maximilíano Durón POSTED 04/19/17 9:10 AM Detail of the Great Wall of Los Angeles (1976–), by Judith F. Baca, showing 500,00 Mexican Americans Deported. COURTESY THE ARTIST AND SPARC, VENICE, CALIFORNIA o get the best view of the painted mural known as the Great Wall of Los Angeles, you have to step through some underbrush, peek over a chain-link fence, and angle your T gaze downward over the expanse of the Tujunga Wash. The mural stretches for half a mile along the concrete wall of the Wash, a tributary of the concrete-lined Los Angeles River. Tucked away in Valley Glen, a community in the San Fernando Valley, far from the glitz of Hollywood, the mural is an exuberantly colored sequence of images that begins with prehistoric times and ends in the 1950s. The sweeping narrative—the Wall’s official title is “The History of California”—opens with mastodons and saber-toothed tigers looking across a river, and across time, at a camp of Chumash Indians, some of California’s earliest residents. It moves through the arrival of the Spanish (seen from the indigenous point of view), the mass deportation of Mexican Americans during the Great Depression, the turning back of the transatlantic liner St. Louis, loaded with http://www.artnews.com/...9d5f-EMAIL_CAMPAIGN_2017_04_21&utm_medium=email&utm_term=0_1e263780b8-b21b869d5f-292987557[5/2/2017 1:26:34 PM] Concrete History: Chicana Muralist Judith F.
    [Show full text]