DOCSLIB.ORG

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Invisible Hands: Eleven Million a Graduate Project Submitted in Partial Fulfillment Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Invisible Hands: Eleven Million a Graduate Project Submitted in Partial Fulfillment Of CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Invisible Hands: Eleven Million A graduate project submitted in partial fulfillment of the requirements For the degree of Master of Arts in Art, Visual Arts By Hedy V. Torres Cardenas May 2018 The graduate project of Hedy V. Torres Cardenas is approved: _______________________________ ________________ Forcum, Tim M.F.A Date _______________________________ _______________ Ontiveros, Mario Ph.D. Date _______________________________ ______________ Fields, Samantha M.F.A, Chair Date California State University, Northridge ii Dedication Thank God for giving me the determination and strength in pursuing a better life far from home. I want to dedicate my accomplishments in obtaining a Master Degree in Art to my father, mother, four siblings, my grandparents, volunteers who participated in my art research, Invisible Hands: Eleven Million, friends and family whom are undocumented immigrants in the United States, my mentors, and every person who has motivated and challenged me during this odyssey. iii Table of Contents Signature Page ii Dedication iii List of Figures v Abstract vi Introduction 1 Project Description 4 Form/Process/Technique 6 Research Analysis/ Historical Contextualization 8 The Red Wall 17 Conclusion 23 Bibliography 25 Appendices: Interviews 27 iv List of Figures 1.1 Being Sick is Not an Option 10 1.2 “Sometimes, I feel that everything is against me” 12 1.3 “I feel very blessed to live in America” 14 1.4 One Of 15 1.5 Eleven Million Video 16 1.6 Erasing the Border, Fernandez, Ana Teresa 2013 19 1.7 Credit: Lubesky, Emmanuel (LACMA). 20 1.8 No Splash, Gomez, Ramiro, 2014 21 1.9 Credit: Francis Peters, John / NYT via Redux (Schwartz). 22 v ABSTRACT Invisible Hands: Eleven Million By Hedy V. Torres Cardenas Masters of Arts in Art, Visual Arts As an immigrant, I am often asked about my nationality because of my accent and physical appearance. Perhaps this should not be relevant anymore in Los Angeles, a city with a highly diverse population. However, the American notion of “Mexican” is often rife with misperceptions. Not all Mexican immigrants are undocumented, even though this is often assumed. Not all Spanish speakers are Mexican; Spanish is spoken in many countries. My latest work focuses on people alienated due to these, and other, assumptions. Through my work, I hope to break through the prejudices and stereotypes to acknowledge the existence of these individuals. The hard work of natural born citizens, new immigrants, and undocumented people, make this country the place where people from other countries around the world can come and pursue a better life. Invisible Hands: Eleven Million is a project including three mediums: paintings, drawings, and time-lapse videos. The project, which elevates and commemorates undocumented immigrants living in Los Angeles, is primarily composed of DACA recipients. The portraits are made in various media including oil on canvas, charcoal on vi paper, and digital drawings. The time-lapse videos were drawn during in-person interviews. First, I met with my prospective subjects in their favorite spot or coffee shop, to put them at ease. We then talked casually while I digitally sketched their portrait, and after, we started our interview. The portraits are painted in monochromatic gray scale, putting the subjects in limbo. In my work, gray serves as an unemotional, neutral, indecisive color that depicts isolation. Undocumented people are often isolated, threatened, and segregated due to their immigration status. The lack of color is used to break up the barriers that our society faces in respect to racial issues. Not giving color to my portraits makes it easy to avoid labeling, stereotyping, or categorizing them into a specific ethnicity. The drawings on paper are dedicated exclusively to DACA recipients. The drawings are intentionally erased and unfinished in areas to reflect their uncertain present and future. The multimedia time-lapse drawings are also dedicated to DACA students. The videos show the process of creating a portrait, the finished drawing, then the drawing fading out. While the image of the individual is created and erased, the voice of the subject telling their story plays. The videos are a metaphoric reflection of how immigrants and DACA recipients have been threatened in our society denying recognition, the right to a higher education and legal status in our country. The Red Wall installation strives to replicate the experience of crossing the United States-Mexico border. The red color refers to the ruling political party and the power it has to oppress minorities. Red also serves as representation of the blood shed from undocumented immigrants who lost their life during the odyssey to reach for the American Dream. vii In general, my work primarily addresses the lack of representation undocumented people hold in this country. viii Introduction It was 4:34 a.m. and the alarm interrupted my sleep. I noticed my mom was sleeping and the alarm did not disturb her dreams. I was worried about my family sleeping in the house, as the night before, two women were killed four blocks away from my home. The news said two men had entered a house and opened fire, killing both women. Unfortunately, the authorities could not find the suspects, leaving the crime unsolved. According to The Congressional Research Serviced, “The Mexican government no longer estimates organized-crime related homicides, some independent analysts have claimed that murders linked to organized crime may have exceeded 100,000 since 2006, when President Calderón began his campaign against the Drug Trafficking Organizations” (Beittel). Though the cause of the crime was not known, it is highly possible that it was caused by interaction with the drug cartels. I opened the window to find where the sirens were coming from, but I could not see anything. My mom had woken up by the time I went back to bed and told me everything was okay. Two hours later, she woke me up to get ready and leave home. I had a 9:30 a.m. bus departure to the Guadalajara Airport, followed by a flight to Tijuana and a final bus ride to Los Angeles. Every year before my departures from Mexico to the United States, I always visit my grandmother to receive her blessing. I was raised Catholic and feel that her blessings protect me like an impenetrable bubble of steel. Saying our goodbyes is always bittersweet. I say: los veo pronto (see you soon) to my parents and siblings because I like to leave them with hope before embarking on my journey back to the States. My only consuelo (comfort) is seeing their social media posts and incoming Whatsapp messages. 1 These interactions on screen curb the longing of Mexico and my family, but the nostalgia fades away when I engage in my busy routine in the United States. I try to visit my family in Colima, a tiny state located in the southwest of Mexico, every December. Going back to United States gets harder every January. It feels that I leave a piece of me in Colima. I feel displaced, like I do not belong there and I do not belong to U.S. I do not want to return and live permanently in Mexico because art education receives little to no support. When I was about to finish my undergraduate education at California State University, Northridge, I started looking for Masters Programs in universities around Mexico to be closer to family; unfortunately, I could not find programs in any university in the country. In Mexico there are no programs that would prepare educators to teach art; in fact, there no a plan for a teacher to follow, and it is up to the educator to teach art or improvise art-teaching strategies (Villareal). Mexico is a country filled with internal problems caused by the drug cartels, which have corrupted individuals and branches of government. Cartels are at war with each other across neighborhoods and states. It terrifies me when I realize I cannot keep my family safe and away from the dangers of unresolved crimes inflicted by the government and cartels. U.S.News published that my home state Colima is one of the five places to avoid visiting due to higher level of potential danger (Stevenson). I cannot deny that this information is true since I myself have experienced this danger during my visits. The lack of protection, government authority and leadership are some of the reasons people migrate to safer places. In the past, I myself have come face-to-face with immigration officials, and I have friends and family that have been threatened because of their unresolved status here in the 2 United States. For instance, some of them have faced deportation, others have lost their jobs while others are free to live where they would like. Still, they have to show proof of this “freedom” with a series of digits that grant them the right. However, there are others that have to be here because their lives would be at risk if they go back to their country of origin or just because they need to support their family economically. In my research, I have found that minorities are being treated with less respect than they should. In my experience, a lack of love, empathy and tolerance are absent regarding immigration policies in the United States, which has criminalized unauthorized immigration. 3 Project Description Invisible Hands: Eleven Million is a project including four series: paintings, drawings, time-lapse videos, and the Red Wall, some of which will be exhibited in the 2018 Graduate exhibition at California State University, Northridge. The project was born in the streets working as an Uber driver and getting to know the struggles of many undocumented people in Los Angeles.
Load more

Recommended publications
  • Painter Shizu Saldamando Puts a Face to L.A.'S Latinx Art and Punk Scenes
    Painter Shizu Saldamando puts a face to L.A.'s Latinx art and punk scenes Artist Shizu Saldamando at Oxy Arts in Highland Park, where a show of her portraits is on view.(Carolyn Cole / Los Angeles Times) By CAROLINA A. MIRANDASTAFF WRITER FEB. 18, 2020 8 AM To be in a gallery filled with portraits by Shizu Saldamando is to stand by her side at a rowdy concert or to observe the casual encounters among her circle of friends. There are laughs and kisses and surges of sweaty bodies as they rush a stage. There is the smoking of https://www.latimes.com/entertainment-arts/story/2020-02-18/painter-shizu-saldamando-latinx-art-punk-scenes cigarettes and moments marinated in booze. There are the intimate choreographies of longtime friendships: embraces, exchanged whispers, passing glances. For more than two decades, the Los Angeles painter has captured the people in her midst. In her 20s and 30s, it was the flamboyant poets and punks she hung out with in the city’s underground music scenes. Now, at 41, and the mother of a 3-year-old son, her portraits have calmed, frequently focusing on her circle of artist friends. “I was doing a show once and [the organizers] told me they were interested in my youth subculture paintings,” says Saldamando. “I had to explain that I wasn’t trying to be about youth subculture. It was just my life. Now I’ve gravitated to more professional artists. It’s still personal, about who my friends are and who I admire.” “Rafa, El Unico,” 2013, a portrait of L.A.
    [Show full text]
  • RAMIRO GOMEZ Happy Hills
    RAMIRO GOMEZ Happy Hills ).'82/+0'3+9-'22+8? RAMIRO GOMEZ Happy Hills Ramiro Gomez was born on June 24th, 1986 in San Bernardino, CA. His parents immigrated from Mexico and established themselves in the Inland Empire region east of Los Angeles.In 2009, Ramiro moved to West Hollywood and took a job as a live-in nanny for an affluent family. While on duty, he observed the many Latino workers who would arrive daily to assist in the household maintenance. Growing up as a member of a working class Hispanic family, Ramiro sympathized with their work and began a series of observational drawings that would later form the body of work he titled “Happy Hills”. This body of work, the artist explains, is a “…documentation of the predominantly Hispanic workforce who work tirelessly behind the scenes to maintain the beautiful imagery of these affluent areas.” Through the help of social media, Gomez’s paintings and street installations in Beverly Hills began to garner attention. The immigrant experience is the exclusive focus of Ramiro and he continues to expand his work in a public manner. His practice honors the contributions of the many individuals who work diligently on a daily basis to provide a better life for themselves and their families. RAMIRO GOMEZ Happy Hills No Splash 58” x 41” Acrylic on panel RAMIRO GOMEZ Happy Hills A 1930’s dining room table, oh, and Erlina cleaning Olympia et Janus et Cie 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Beatriz on a Break Alejandra 11 x 8½ inches 11 x 8½
    [Show full text]
  • Ramiro Gomez Here, for a Moment
    RAMIRO GOMEZ HERE, FOR A MOMENT ).'82/+0'3+9-'22+8? RAMIRO GOMEZ HERE, FOR A MOMENT Charlie James Gallery is delighted to present Here, For a Moment, the fourth solo exhibition with the gallery by Los Angeles-based artist Ramiro Gomez, opening Saturday, November 16th and running through January 4th, 2020. In this forthcoming show Gomez is responding as always to his lived environment, but also to the tenor of the times and the weight of contemporary American disharmony. Processing recent years of deteriorating political climate, witnessing purges of working people based on immigration status, and experiencing episodes of personal loss have combined to yield a body of work grounded in ephemerality, which manifests in the show’s chosen narratives and use of materials. Gomez continues to use his photography practice as source images for his paintings, capturing scenes of working life in and around Los Angeles. Inspired as always by service workers, laborers, and discarded materials from the streets of LA, Gomez works across a wide range of media from cardboard to distressed canvas, trash bags, garden hose, found tarps and immersive mixed media installation. The show is an homage to the people who keep working amidst the increasing pressures of contemporary American life, though not explicitly an act of veneration. The show seeks to inhabit the lives of its subjects, particularly their moments of respite, reflection, and fantasy. Ramiro Gomez was born in 1986 in San Bernardino, California to undocumented Mexican immigrant parents who have since become US citizens. His work has been exhibited at LACMA, the Smithsonian National Portrait Gallery, the Denver Art Museum, the MFA Houston, the Blanton Museum of Art, and many other institutions.
    [Show full text]
  • Ramiro Gomez Cut-Outs Ramiro Gomez Cut-Outs
    RAMIRO GOMEZ CUT-OUTS RAMIRO GOMEZ CUT-OUTS Charlie James Gallery is delighted to present Cut-Outs – a room-sized installation of cardboard cut-outs by Ramiro Gomez. Created as a culmination to his October 2014 residency at the University of Michigan Institute for the Humanities, Ramiro Gomez has created an immersive installation of cardboard settings and figures. Gomez’s life-sized cardboard figures make visible the “invisible,” the predominantly Hispanic workforce of affluent areas of Los Angeles. His subjects are the nannies, gardeners, housekeepers: the people behind our images of luxury. This work has previously shown at the University of Michigan Institute for the Humanities and Mana Contemporary Chicago, as part of the Chicago Humanities Festival 2015. Ramiro Gomez was born to immigrant parents in the Inland Empire region of Southern California, east of Los Angeles. After leaving the California Institute of the Arts, Gomez worked as a live-in nanny with a Beverly Hills family, where he keenly observed the relationships between heads of households and their staff. Gomez found the dynamic between family and staff to be paradoxical – at once intimate, trusting and close, but also prone to abrupt dissolution for various reasons. His experiences there are the impetus for his work. Ramiro Gomez was born in 1986 in San Bernardino, CA. His work is in the collections of the MCASD, OCMA, Crocker Art Museum, and Fundacion Televisa. In 2013 Gomez had a solo exhibition @ the UCLA Chicano Studies Research Center, and was an artist-in-residence at the CSUF Grand Central Art Center in Santa Ana, CA.
    [Show full text]
  • JAY LYNN GOMEZ B
    JAY LYNN GOMEZ b. 1986, San Bernardino, CA Lives and works in Brooklyn, NY SOLO EXHIBITIONS 2019 Here, For A Moment, Charlie James Gallery, Los Angeles, CA 2018 In NYC, P·P·O·W, New York, NY 2017 In West Hollywood, Getty PST-related Solo Show, West Hollywood Public Library, West Hollywood, CA 2016 On Melrose, Charlie James Gallery, Los Angeles, CA 2015 Cut-Outs, Charlie James Gallery, Los Angeles, CA Cut-Outs, University of Michigan, Ann Arbor, MI 2014 Domestic Scenes, Charlie James Gallery, Los Angeles, CA 2013 Luxury, Interrupted, UCLA Chicano Studies Research Center, CA 2012 Rose Gardens, Pehrspace, Los Angeles, CA SELECT GROUP EXHIBITIONS 2021 - LXS ANGELINS -, Galeria Javier Lopez & Fer Frances, Madrid, Spain 2021 L.A. Billboard Project, The Billboard Creative, Los Angeles, CA Parallels & Peripheries: Practice + Presence, New York Academy of Art, New York, NY A Very Anxious Feeling: Voices of Unrest in the American Experience; 20 Years of the Beth Rudin DeWoody Collection, Taubman Museum of Art, Roanoke, VA ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now, Smithsonian American Art Museum, Washington D.C. 2020 Alien vs. Citizen, MCA Chicago, Chicago, IL 2020 Vision, Southampton Arts Center, Southampton, NY 2019 Sorry for the Mess, University of Nevada, Las Vegas, NV With a Little Help from my Friends, Charlie James Gallery, Los Angeles, CA Tell Me a Story and I’ll Sing You a Song, Curated by Bianca Moran, Charlie James Gallery, Los Angeles, CA 2017 Sweat of Their Brow, National Portrait Gallery, Washington D.C. Home - So Different, So Appealing, Museum of Fine Arts, Houston, TX We Hold These Truths, No Longer Empty, Washington D.C.
    [Show full text]
  • RAMIRO GOMEZ Portfolio
    RAMIRO GOMEZ Portfolio ).'82/+0'3+9-'22+8? RAMIRO GOMEZ Biography Ramiro Gomez was born in 1986 in San Bernardino, California to undocumented Mexican immigrant parents who have since become US citizens. He briefly attended the California Institute for the Arts before leaving to take work as a live-in nanny with a West Hollywood family, an experience that did much to inform his subsequent artistic practice. In 2013 Gomez had his first solo exhibition at the UCLA Chicano Studies Research Center, and was also awarded with a residency to install a mural in West Hollywood Park, a project titled The Caretakers, which remains on view. In 2014 Gomez had his solo gallery debut at Charlie James Gallery in Los Angeles, and went on to show widely across North America. In 2015 Gomez exhibited at the University of Michigan Institute for the Humanities, the Chicago Humanities Festival, and again at Charlie James Gallery. Gomez’s work has been covered in the New York Times Magazine, the Washington Post, NPR, the Los Angeles Times, Hyperallergic, Huffington Post, and CNN. In the spring of 2016, Gomez had his third show at the Charlie James Gallery in conjunction with the publication of a monograph on his work by Lawrence Weschler (Abrams). Gomez lives and works in West Hollywood, California. RAMIRO GOMEZ On Melrose April - June 2016 RAMIRO GOMEZ On Melrose Paul Smith Store, Los Angeles Acrylic on canvas 72 x 72 inches 2015 RAMIRO GOMEZ On Melrose Fred Segal Store, Los Angeles Acrylic on canvas 72 x 72 inches 2016 RAMIRO GOMEZ On Melrose The Broad Acrylic
    [Show full text]
  • Shane Lutzk (American, B
    Shane Lutzk (American, b. 1992) Large Black and White Vessel, 2019 Stoneware Collection Nerman Museum of Contemporary Art, 2019.13 Acquired with funds provided by the Barton P. and Mary D. Cohen Art Acquisition Endowment of the JCCC Foundation Shane Lutzk develops his monumental ceramic vessels by integrating the precision and structural components found in diverse architecture. While traveling abroad, he was greatly influenced by the historical buildings in Kecskemet, Hungary. His sculptures create a spatial connection with the viewer in large works like Blue Dripped Vessel because of the undulating forms and anthropomorphic scale. In addition to the towering symmetrical sculptures that demonstrate the artist's wheel throwing capabilities, Lutzk builds wall installations and free-standing amorphous sculpture, and these smaller objects are also wheel thrown at first - they are created with cross sections of thrown clay. Whether they retain the wheel's geometry or they take on an elastic undulatin g character through manipulation, Lutzk's clay works convey a personal message: at the age of nine, Lutzk was diagnosed with juvenile diabetes, and much of his work depicts his struggle with this disease. He wants to bring both the ramifications and the positive outcomes that come from diabetes to the public's attention. In this work, the blue concentric circles signify the international symbol for diabetes awareness. Lutzk earned his MFA at Arizona State University in 2017 and his BFA in ceramics at the Kansas City Art Institute in 2014. Kent Monkman (Canadian First Nations, Cree, b. 1965) Sepia Study for The Deposition, 2014 Watercolor and gouache on paper Collection Nerman Museum of Contemporary Art, 2017 Kent Monkman’s glamorous, gender-fluid alter-ego, Miss Chief Eagle Testickle, appears in much of his work, including in this study for his painting The Deposition.
    [Show full text]
  • The Art Show February 27 – March 1, 2020 Booth C9 2016, Gomez Was
    ADAA: The Art Show February 27 – March 1, 2020 Booth C9 On View (The Kanders’ Home), 2020, acrylic on paper, 10 ⅞ x 16 ¾ inches P·P·O·W is pleased to present a one-person booth of new sculptures and works on paper by Ramiro Gomez. Born in 1986 in San Bernardino, California to undocumented Mexican immigrants who have since become US citizens, Gomez briefly attended the California Institute for the Arts before leaving to work as a live-in nanny with a West Hollywood family. Informed by his childhood and subsequent time working in the Hollywood Hills, Gomez has since garnered critical acclaim for his work addressing issues of immigration and class division. In his ongoing Magazine Series, Gomez renders the “invisible” visible, inserting representations of labor forces which build and maintain the pools, gardens, and mansions of America’s wealthiest classes onto the pages of glossy lifestyle magazines such as Galerie, Town and Country, Design within Reach, and Architectural Digest. Introduced to these periodicals during his time as a nanny, Gomez recalls, “The magazines looked like the very environments I was working in and I started feeling an interesting reaction to them. It was looking at these environments minus all the people I was working with. It was an erasure of us. So it became very clear what to add. It was this simple act. It was just inspired by saying, ‘I’m here. We exist.’” Developing this series further, Gomez turns his eye toward not only representations of labor but representations of internal fantasies, dreams, and expressions of the self.
    [Show full text]
  • Printing the Revolution Exhibition Wall Text (English) | Smithsonian American Art Museum
    During the 1960s and 1970s, Mexican Americans adopted the name “Chicano” as a sign of their new political and cultural identity. Inspired by the labor activism of César Chávez, Dolores Huerta, and the United Farm Workers, Chicanos exposed racism, fought for equal rights, asserted their unique cultural identity, and challenged their invisibility in American society. Printmakers active during these formative years of the Chicano civil rights movement, or El Movimiento, played a pivotal role in projecting this revolutionary new way of being Mexican American in the United States. This exhibition explores how Chicano artists and their cross-cultural collaborators initiated an enduring, influential, and innovative graphic arts movement attuned to social justice and cultural expression. The term “graphics” captures a wide range of artistic practices. While screenprinting remains prevalent, the artists on view also produce installations and public interventions; several embrace computer graphics and augmented reality (AR). Whether print or digital, each method offers ease of duplication and distribution, key characteristics that allow artists to directly engage people near and far. Using these expansive approaches and projecting defiance, these artists delve into domestic and global politics and history, feminism, immigrant and LGBTQ+ rights, and other topics. They have also consistently used their art to debate the shifting meanings of Chicano, most recently demonstrated by the rising use of Chicanx, a gender-neutral and nonbinary alternative to Chicano. ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now Page 1 of 44 Smithsonian American Art Museum | 12/16/2020 – RM ¡Printing the Revolution! features about one-fifth of the Smithsonian American Art Museum’s extensive collection of Chicanx graphics, the largest museum collection of its kind on the East Coast.
    [Show full text]
  • ).'82/+ 0'3+9 -'22+8?
    RAMIRO GOMEZ Portfolio ).'82/+0'3+9-'22+8? RAMIRO GOMEZ Biography Ramiro Gomez was born in 1986 in San Bernardino, California to undocumented Mexican immigrant parents who have since become US citizens. He briefly attended the California Institute for the Arts before leaving to take work as a live-in nanny with a West Hollywood family, an experience that did much to inform his subsequent artistic practice. Gomez’s work is known for addressing issues of immigration and making visible the “invisible” labor forces that keep the pools, homes, and gardens of Los Angeles in such pristine condition. In 2013 Gomez had his first solo exhibition at the UCLA Chicano Studies Research Center, and was also awarded with a residency to install a mural in West Hollywood Park, a project titled The Caretakers, which remains on view. In 2014 Gomez had his solo gallery debut at Charlie James Gallery in Los Angeles, and went on to show widely across North America. In 2015 Gomez exhibited at the University of Michigan Institute for the Humanities, the Chicago Humanities Festival, and again at Charlie James Gallery. In the spring of 2016, Gomez had his third show “On Melrose” at the Charlie James Gallery in conjunction with the publication of a monograph on his work by Lawrence Weschler (Abrams), titled “Domestic Scenes: The Art of Ramiro Gomez”. Gomez participated in the 2017 Whitney Biennial as part of Raf Esparza’s “Figure Ground: Beyond the White Field” installation. His work was also included in three of the Getty’s Pacific Standard Time: LA/LA exhibitions - “Home—So Different, So Appealing” at the Los Angeles County Museum of Art (LACMA), a joint show, “In West Hollywood” at the West Hollywood Library with his partner, David Feldman, and the Chapman University exhibition “My Barrio: Emigdio Vasquez and Chicana/o Identity in Orange County”.
    [Show full text]
  • LATINIDADES: Art, Music, & Performance
    Prof. Cary Cordova Spring 2021 AMS 370 / #31600 Class Schedule: AMS 370 Tues/Thurs, 2 p.m.-3:30 p.m. LATINIDADES: ONLINE Art, Music, & Performance How have Latinas/Latinos/Latinxs turned to art as a form of creative expression? And how have they used art to demand social change? This class will contextualize and analyze diverse forms of Latina/o/x artistic expression, including visual art, music, dance, theatre, and film, or what this class will call, “Latinidades.” Moving from the mid-twentieth century into the twenty-first century, students will study these diverse constructions of Latinidad alongside the politics of community organizing amongst various communities, and in conversation with the histories of Chicana/o/x, Puerto Rican, Dominican, and Salvadoran populations. Topics will include representations of citizenship and immigration; borders and surveillance; community formation, displacement, and segregation; access to and content of education; and the construction and criteria of art history. Students also will engage with how citizenship, nation, race, gender, sexuality, class, and ability have complicated these artistic representations. As students develop an understanding of the range and diversity of artistic expressions (graphics, cartoons, paintings, murals, photographs, films, installations, performance art, dances, songs, poems, plays, and comedy), they also will develop an understanding of the complexity of Latino communities, and the coalitions and conflicts bridging and dividing larger social movements. Course Objectives:
    [Show full text]
  • 1 Chicano Studies Research Center Annual Report 2012-13 Submitted
    Chicano Studies Research Center Annual Report 2012-13 Submitted by Director Chon A. Noriega 1 TABLE OF CONTENTS Director’s Message………………………………….3 Development Report…………………………..........5 Administration, Staff, Faculty, and Associates……..7 Academic and Community Relations……………...13 Library and Archive……………………………….20 Press……………………………………………….28 Research…………………………………………...39 Facilities…………………………………………...54 Appendices………………………………………..56 2 I. DIRECTOR’S MESSAGE The UCLA Chicano Studies Research Center (CSRC) was founded in 1969 with a commitment to foster multi-disciplinary research as part of the overall mission of the university. It is one of four ethnic studies centers that are now part of the Institute of American Cultures (IAC), which reports to the UCLA Office of the Chancellor. The CSRC is also a co-founder of the Inter- University Program for Latino Research (IUPLR, est. 1983), a consortium of Latino research centers that now includes twenty-five institutions in the United States. The CSRC houses a library and special collections archive, an academic press, externally-funded research projects, community-based partnerships, competitive grant and fellowship programs, and several gift funds. The CSRC also maintains strategic research partnerships with UCLA professional schools, departments and research centers. Since the 1970s the CSRC has held six positions for faculty that are appointed in academic departments—appointments that expand the center’s research capacity as well as the curriculum in Chicana/o studies across UCLA. Highlights for 2012-13 • The CSRC continued to play a crucial role in establishing and maintaining intra-campus partnerships to pursue projects dealing with access to health care, media research, archival projects and clinical and translational research. To do so, the CSRC secured formal collaborations with the Schools of Medicine, Dentistry, Public Health, GSEIS, Public Affairs, and other campus entities, including the UCLA-wide Clinical and Translational Sciences Institute (CTSI).
    [Show full text]