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Chicano and Chicana Art a CRITICAL ANTHOLOGY

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Jennifer A. González, C. Ondine Chavoya, Chon Noriega, Chicano & Terezita Romo, editors and Chicana Art A CRITICAL ANTHOLOGY Chicano and Chicana Art A CRITICAL ANTHOLOGY jennifer a. gonzález, c. ondine chavoya, chon noriega, and terezita romo, editors Duke University Press · Durham and London · 2019 © 2019 DUKE UNIVERSITY PRESS All rights reserved. Printed in the United States isbn 9781478003403 (ebook) of Amer i ca on acid- free paper ∞. Designed by isbn 9781478001874 (hardcover : alk. paper) Courtney Leigh Baker. Typeset in Minion Pro and isbn 9781478003007 (pbk. : alk. paper) Myriad Pro by Westchester Publishing Ser vices Subjects: lcsh: Mexican American art. | Mexican American artists. | Art— Political aspects— United States. | Library of Congress Cataloging- in- Publication Data Art and society. Names: González, Jennifer A., editor. | Classification: lcc n6538.m4 (ebook) | Chavoya, C. Ondine, editor. | lcc n6538.m4 c44 2019 (print) | Noriega, Chon A., [date] editor. | Romo, Terecita, editor. ddc 704.03/6872073— dc23 Title: Chicano and Chicana art : a critical anthology / lc rec ord available at https:// lccn . loc . gov / 2018026167 Jennifer A. González, C. Ondine Chavoya, Chon Noriega, Terezita Romo, editors. Description: Durham : Duke University Press, 2019. | Frontispiece: Ester Hernández, Libertad, 1976. Includes bibliographical references and index. Etching. Image courtesy of the artist. Identifiers: lccn 2018026167 (print) Cover art: Richard A. Lou, Border Door, 1988. lccn 2018029607 (ebook) Photo by James Elliot. Courtesy of the artist. PART I. DEFINITIONS AND DEBATES Introduction · 13 chon noriega 1. Looking for Alternatives: Notes on Chicano Art, 1960–1990 · 19 philip brookman 2. Con Safo (C/S) Artists: A Contingency Factor · 30 mel casas Contents 3. El Arte del Chicano: “The Spirit of the Experience” · 32 gilbert sanchez luján List of Illustrations · ix 4. Notes on an Aesthetic Alternative · 35 Preface · xiii carlos almaraz Acknowl edgments · xv 5. A Critical Perspective Introduction · 1 on the State of Chicano Art · 37 jennifer a. gonzález malaquías montoya and lezlie salkowitz- montoya 6. Response: Another Opinion on the State of Chicano Art · 45 shifra m. goldman 7. Post- Chicano · 54 rita gonzalez 8. The New Chicano Movement · 58 josh kun 9. Post- movimiento: The Con temporary (Re)Generation of Chicana/o Art · 66 tomás ybarra- frausto Further Reading · 72 PART II. CULTURAL RECLAMATION PART III. BODILY AESTHETICS AND VERNACULAR TRADITIONS AND ICONOLOGIES Introduction · 75 Introduction · 177 terezita romo jennifer a. gonzález 10. The Politics of Popu lar Art · 81 20. Mel Casas: Redefining Amer i ca · 183 rupert garcía nancy kelker 11. Rasquachismo: A Chicano Sensibility · 85 21. Drawing Offensive/Offensive Drawing: tomás ybarra- frausto Toward a Theory of Mariconógraphy · 194 robb hernández 12. Domesticana: The Sensibility of Chicana Rasquachismo · 91 22. The Pachuco’s Flayed Hide: Mobility, amalia mesa- bains Identity, and Buenas Garras · 208 marcos sánchez- tranquilino 13. Chicano Humor in Art: and john tagg For Whom the Taco Bell Tolls · 100 rubén trejo 23. Writing on the Social Body: Dresses and Body Ornamentation in Con temporary 14. Points of Convergence: The Iconography Chicana Art · 219 of the Chicano Poster · 104 laura e. pérez terezita romo 24. Ojo de la Diosa: Becoming Divine 15. Graffiti Is Art: Any Drawn Line That in Delilah Montoya’s Photography · 237 Speaks about Identity, Dignity, and Unity . ​ asta kuusinen That Line Is Art · 117 charles “chaz” bojórquez 25. Art Comes for the Archbishop: The Semiotics of Con temporary Chicana 16. Inventing Tradition, Negotiating Feminism and the Work of Alma López · 250 Modernism: Chicano/a Art and luz calvo the Pre- Columbian Past · 123 victor zamudio- taylor Further Reading · 263 17. Negotiated Frontiers: Con temporary Chicano Photography · 135 jennifer a. gonzález 18. Deus ex Machina: Tradition, Technology, and the Chicanafuturist Art of Marion C. Martinez · 146 catherine s. ramírez 19. Celia Alvarez Muñoz: “Civic Studies” · 165 roberto tejada Further Reading · 174 PART IV. PUBLIC PRACTICES PART V. BORDER VISIONS AND ENACTED LANDSCAPES AND IMMIGRATION POLITICS Introduction · 267 Introduction · 335 c. ondine chavoya jennifer a. gonzález 26. The Enacted Environment 33. Border Arte: Nepantla, el Lugar of East Los Angeles · 271 de la Frontera · 341 james t. rojas gloria anzaldúa 27. Space, Power, and Youth Culture: 34. The Spaces of Home in Chicano and Mexican American Graffiti and Chicano Latino Repre sen ta tions of the San Diego– Murals in East Los Angeles, 1972–1978 · 278 Tijuana Borderlands (1968–2002) · 351 marcos sánchez-tranquilino jo- anne berelowitz 28. Pseudographic Cinema: 35. Straddling la otra frontera: Asco’s No- Movies · 292 Inserting MiChicana/o Visual Culture c. ondine chavoya into Chicana/o Art History · 374 dylan miner 29. Whose Monument Where? Public Art in a Many- Cultured Society · 304 36. Borders, Border Crossing, and judith f. baca Po liti cal Art in North Carolina · 394 gabriela valdivia, joseph palis, 30. La Memoria de Nuestra Tierra: and matthew reilly Colorado · 310 judith f. baca 37. Excerpts from Codex Espangliensis: From Columbus to the Border Patrol · 402 31. The Donkey Cart Caper: Some Thoughts enrique chagoya, guillermo on Socially Conscious Art in Antisocial gómez- peña, and felicia rice Public Space · 314 david avalos 38. 187 Reasons Why Mexicanos Can’t Cross the Border (Remix) · 406 32. Public Audit: An Interview with Elizabeth juan felipe herrera Sisco, Louis Hock, and David Avalos · 319 cylena simonds Further Reading · 410 Further Reading · 331 PART VI. INSTITUTIONAL FRAMEWORKS 49. From cara to caca: The Multiple AND CRITICAL RECEPTION Anatomies of Chicano/a Art at the Turn of the New Century · 455 Introduction · 413 alicia gaspar de alba c. ondine chavoya 50. On Museum Row: Aesthetics and 39. Los Four · 417 the Politics of Exhibition · 470 peter plagens chon noriega 40. MARCH to an Aesthetic of Revolution · 420 51. Strangeways Here We Come · 484 raye bemis rita gonzalez 41. Resisting Modernism: Chicano Art: Further Reading · 495 Retro Progressive or Progressive Retro? · 423 ralph rugoff 42. Our Amer i ca at the Smithsonian · 427 philip kennicott Glossary · 497 43. Alex Rivera, Philip Kennicott Debate Contributors · 501 Washington Post Review of Our Amer i ca · 430 Index · 509 philip kennicott Acknowl edgment of Copyrights · 531 44. What Do We Mean When We Talk about “Latino Art”? · 434 elizabeth blair 45. Chicano Art: Looking Backward · 436 shifra m. goldman 46. Readers’ Forum Letter to the Editor in Response to Shifra Goldman’s Exhibition Review · 440 judithe elena hernández de neikrug 47. Readers’ Forum Response to Judithe Hernández’s Letter to the Editor · 442 shifra m. goldman 48. “All Roads Lead to East L.A.,” Goez Art Studios and Gallery · 444 karen mary davalos Illustrations Fig. Intro.1 Yreina Cervántez, Big Baby Fig. 8.1 Mario Ybarra Jr., Go Tell Balam, 1991–2017 · 2 It #1, 2001 · 59 Fig. Intro.2 Malaquías Montoya, Fig. II.1 Carmen Lomas Garza, Undocumented, 1981 · 2 Nopalitos para ti, 1989 · 74 Fig. Intro.3 Patssi Valdez, LA/TJ, 1987 · 2 Fig. 10.1 José Montoya, Untitled, from the Pachuco series, 1977 · 83 Fig. I.1 Gilbert “Magu” Sanchez Luján, Aztlán Rifa, 1977 · 12 Fig. 11.1 Luis Jiménez, Vaquero, modeled 1980, cast 1990 · 87 Fig. 1.1 Elizabeth Sisco, Louis Hock, and David Avalos, Welcome to Amer i ca’s Fig. 12.1 Amalia Mesa- Bains, An Ofrenda Finest Tourist Plantation, 1988 · 28 for Dolores del Rio, 1984 · 97 Fig. 3.1 Gilbert Sanchez Luján, “El Arte Fig. 13.1 Rubén Trejo, Birth of the del Chicano: ‘The Spirit of the Experience,’ ” Jalapeño, 1981 · 101 Con/Safos 7 (1971) · 33 Fig. 14.1 Judithe Hernández, Reina Fig. 4.1 Carlos Almaraz, Mechicano Art Center de la Primavera, 1974 · 110 exhibition invitation with manifesto “Notes on an Aesthetic Alternative,” Los Angeles, Fig. 15.1 Chaz Bojórquez, Por Dios Mechicano Art Center, 1973 · 36 y Oro, 1992 · 119 Fig. 5.1 Malaquías Montoya, Hombre Fig. 16.1 Yolanda López, Nuestra Sin País, 1988 · 38 Madre, 1981–88 · 131 Fig. 6.1 Rupert García, Assassination of Fig. 17.1 Kathy Vargas, My Alamo Striking Mexican Worker, 1979 · 49 (Order of the Alamo), 1995 · 142 Fig. 7.1 Salomón Huerta, Untitled Fig. 17.2 Kathy Vargas, My Alamo (Back of Head), 1998 · 56 (Order of the Alamo), 1995 · 143 Fig. 17.3 Robert Buitrón, Identity Surfing, Fig. 24.1 Delilah Montoya, El Guadalupano, 1995 · 144 1998 · 239 Fig. 18.1 Marion C. Martinez, Oratorio Fig. 24.2 Delilah Montoya, La Guadalupana, a la Virgencita, 2000 · 148 1998 · 240 Fig. 19.1 Celia Alvarez Muñoz, El Limite Fig. 25.1 Alma López, Our Lady, 1999 · 252 (detail), 1991 · 167 Fig. IV.1 William F. Herrón III, The Wall Fig. 19.2 Celia Alvarez Muñoz, That Cracked Open, 1972 · 266 El Limite (detail), 1991 · 169 Fig. 26.1 Lady of Guadalupe Shrine painted Fig. III.1 Rupert García, El Grito on a freeway wall at the end of a dead- end street de Rebelde, 1975 · 176 in Boyle Heights · 273 Fig. 20.1 Mel Casas, Humanscape 62: Fig. 26.2 Personalized front yard lawn Brownies of the Southwest, 1970 · 184 decorations reflect the creators’ talents and create pedestrian-friendly streets · 275 Fig. 20.2 Mel Casas, Humanscape 63: Show of Hands, 1970 · 189 Fig. 27.1 vne placas, Olympic Boulevard, Estrada Courts Housing Proj ect, East Los Fig. 20.3 Mel Casas, Humanscape 70: Angeles, 1973 · 280 Comic Whitewash, 1973 · 191 Fig. 27.2 Willie Herrón and Gronk, The Black Fig. 21.1 Teddy Sandoval with Joey Terrill, and White/Moratorium Mural, 1974–78. Estrada Portrait from the Maricón series Courts Housing Proj ect, East Los Angeles · 282 (photo graph of Joey Terrill), 1975 · 201 Fig. 27.3 Los Niños del Mundo and Charles W. Fig. 21.2 Teddy Sandoval with Joey Terrill, Felix, Give Me Life, 1973. Estrada Courts Housing Portrait from the Maricón series Proj ect · 285 (photo graph of Joey Terrill), 1975 · 202 Fig.
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  • Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’S Codex Delilah

    Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’S Codex Delilah

    San Jose State University SJSU ScholarWorks 2002-2004: 29th, 30th, & 31st Annual NACCS Annual Conference Proceedings Conferences Proceedings Apr 1st, 12:00 AM Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’s Codex Delilah Ann Marie Leimer University of Redlands Follow this and additional works at: https://scholarworks.sjsu.edu/naccs Leimer, Ann Marie, "Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’s Codex Delilah" (2004). NACCS Annual Conference Proceedings. 3. https://scholarworks.sjsu.edu/naccs/2002-2004/Proceedings/3 This Conference Proceeding is brought to you for free and open access by the National Association for Chicana and Chicano Studies Archive at SJSU ScholarWorks. It has been accepted for inclusion in NACCS Annual Conference Proceedings by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. NACCS_FINAL:NACCS proceedings 3/18/09 4:10 PM Page 10 CHAPTER 1 Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’s Codex Delilah Ann Marie Leimer, University of Redlands INTRODUCTION In 1992, the United States conducted a nationwide commemoration of the Quincentenary, the five-hundredth anniversary of the arrival of Christopher Columbus on the shores of the Americas. While the overall tenor of the observance remained laudatory regarding Columbus, his achievement, and the subsequent “settlement” 1 of the New World by Europeans, some Americans insisted that media and other popular representations of the offi - cial recognition elided important aspects of this historical moment and its aftermath. Protests and counterdemonstrations ranged from mild to mili - tant with churches, schools, and indigenous and other activist groups cri - tiquing the limited portrayal of the yearlong commemoration.