The Ester M. Hernandez Collection Date: 1957-2001 Collection Number: M1301 Creator: Hernandez, Ester Collection Size: 53.5 Linear Ft

Total Page:16

File Type:pdf, Size:1020Kb

The Ester M. Hernandez Collection Date: 1957-2001 Collection Number: M1301 Creator: Hernandez, Ester Collection Size: 53.5 Linear Ft http://oac.cdlib.org/findaid/ark:/13030/kt4b69q4f4 No online items Guide to the Ester Hernandez Papers Bill O'Hanlon Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://www-sul.stanford.edu/depts/spc/ 2005 The Board of Trustees of Stanford University. All rights reserved. Guide to the Ester Hernandez M1301 1 Papers Guide to the Ester Hernandez Papers Collection number: M1301 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Processed by: Bill O'Hanlon Date Completed: 2005 Encoded by: Bill O'Hanlon 2005 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: The Ester M. Hernandez collection Date: 1957-2001 Collection number: M1301 Creator: Hernandez, Ester Collection Size: 53.5 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: The collection contains original artwork, photographic images, periodical articles regarding both Hernandez and many of her contemporaries, original manuscripts, audio and visual recordings documenting interviews and political events, and ephemera gathered from artists, performers, and political/social activists and events. Languages: Languages represented in the collection: English Access Collection is open for research, except for Subseries 6.6 Artist's Files: Alice Walker; materials must be requested at least 24 hours in advance of intended use. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Preferred Citation , M1301. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif. Acquisition Information In part purchased and in part a gift of Ester M. Hernandez, 2001. Biography / Administrative History Hernandez is an artist of the first generation of Chicano and Chicana artists who participated in the Chicano art movement that began in the late 1960s as part of the Chicano civil rights movement. Her collection represents more than twenty-five years of involvement in many of the most important historical activities of this period, including the farmworkers' movement, the feminist movement, international environmental movements, and the art movement itself, including the visual, literary, and performing arts. A California Bay Area artist, Hernandez is primarily known as a printmaker and pastel artist. She has also created a lesser-known body of photographic and performance work. Scope and Content of Collection Includes correspondence, contracts, exhibition brochures and catalogues, newspaper and journal articles and reviews, books, original manuscript stories, interviews (both of the artist and of other artists, writers, and performers conducted by Hernandez), slides, photogrpahs and negatives, works of art (prints, posters, drawings, pastels) by the artist and other artists, videos, audio tapes, cd's and albums, and costumes and accessories. Indexing Terms The following terms have been used to index the description of this collection in the library's online public access catalog. Guide to the Ester Hernandez M1301 2 Papers Chavez, Cesar 1927- Hadad, Astrid Huerta, Dolores 1930- Mendoza, Lydia Walker, Alice 1944- United Farm Workers of America. Mexican American Art. Series 1 Artwork Physical Description: 17 linear ft. Scope and Content Note Series I contains many examples of Hernandez's work on several types of media, including Original Work on Paper, Sketches, Prints, linoleum Etching Blocks, and sets of Transparencies used in the printing process. Also in the series can be found Work by Others acquired by Hernandez. Subseries 1.1 Original Work On Paper Map Folder 1 Black Slippers 1974 Physical Description: pastel, 44cm x 28cm, mounted on posterboard, 62cm x 46cm Map Folder 1 Frida's Death Mask 1979 Physical Description: pastel, 46cm x 61cm Map Folder 1 Abuelita, a study 1980 Physical Description: pastel, 61cm x 46cm Map Folder 1 Irene 1976 Physical Description: pastel, 46cm x 61cm Map Folder 2 The Beating of Dolores Huerta by the San Francisco Police 1988 Physical Description: charcoal on pastel paper, 71cm x 55cm Map Folder 2 The Ferris Wheel Ride 1991 Physical Description: charcoal on pastel paper, 71cm x 55cm Map Folder 2 Juntos al Futuro 1991 Physical Description: pastel, 76cm x 51cm Map Folder 2 Dia De Los Muertos - Janitzio, Michoacan, a study 1990 Physical Description: conte crayon on paper, 57.5cm x 77cm Map Folder 3 Portrait of Renee - Russian River Water Colors, 1 of 3 1988 Physical Description: graphite and watercolor study, 26cm x 18cm Map Folder 3 Portrait Seated - Russian River Water Colors, 2 of 3 1988 Physical Description: graphite and watercolor study, 26cm x 18cm Map Folder 3 The Crow - Russian River Water Colors, 3 of 3 1988 Physical Description: graphite and watercolor study, 26cm x 18cm Guide to the Ester Hernandez M1301 3 Papers Series 1Artwork Subseries 1.1Original Work On Paper Map Folder 3 Self-portrait - Berkeley 1977 Physical Description: ink on Japanese paper, 31cm x 23.5cm Map Folder 3 Dona Maria Buen Rostro - Oakland, CA 1986 Physical Description: graphite on paper, 45cm x 38 Map Folder 3 La Ofrenda I 1988 Physical Description: pencil sketch including notes on color separation, 36cm x 28cm Map Folder 3 La Ofrenda I 1988 Physical Description: original water color study for screen print, 38cm x 28.5cm Map Folder 3 La Ofrenda I 1988 Physical Description: water color study, 43cm x 28cm Map Folder 3 California Special 1988 Physical Description: original water color study, 66cm x 51cm Map Folder 4 Dona Maria - La Curandera 1985 Physical Description: conte crayon on paper, 63cm x 48cm Map Folder 4 Dona Maria Buen Rostro 1985 Physical Description: graphite on paper, 63cm x 48cm Map Folder 4 Greetings From Sunny California II 1994 Physical Description: mono-screenprint, 66cm x 50.5cm Map Folder 5 Gracias a la Vida 1992 Physical Description: water color on paper, 33cm x 76cm Scope and Content Note Mural proposal for Centro Latino de San Francisco, color layout and design Map Folder 5 La Virgen de Guadalupe Recibiendo a Cesar Chavez 1994 Physical Description: china marker study, 58.5cm x 76cm Map Folder 5 The Mastectomy I 1993 Physical Description: acrylic on paper, 76cm x 55cm Map Folder 5 The Mastectomy II 1993 Physical Description: acrylic on paper, 76cm x 55cm Map Folder 5 La Virgen de Guadalupe Recibiendo a Cesar Chavez - a study 1995 Physical Description: graphite on black German etching paper 75.5cm x 99cm 1.2 Miscellaneous Sketches Flat Box 6 [11 Sketches by Ester Hernandez] n.d. Physical Description: Pen and ink [felt tip marker?] on poster, 28cm x 35.5cm Scope and Content Note Series of sketches depicting: artists/artisans at work; peasants performing tasks; a mask; and Mexican cultural iconographic representations. Guide to the Ester Hernandez M1301 4 Papers Series 1Artwork 1.2Miscellaneous Sketches Flat Box 6 Miscellaneous Sketches by Ester Hernandez Flat Box 6 Woman, Mother, Student 1975 1.3 Prints Flat Box 7 Viva la Musica 1981 Physical Description: lithograph on rag, 33cm x 24cm Flat Box 7 HIgh Rolliando 1981 Physical Description: monoprint, 33cm x 24cm Flat Box 7 Medito 1976 Physical Description: etching, artist's proof, 32cm x 24cm Flat Box 7 la Virgen de Guadalupe Defendiendo Los Derechos de Los Xicanos 1976 Physical Description: block print, 32cm x 24cm Flat Box 7 Lydia Mendoza 1986 Physical Description: mixed media print; transfer, embossment, monoprint, 28.5cm x 38cm Flat Box 7 The Nightmare 1988 Physical Description: monoprint, 38cm x 48cm Flat Box 7 El Diablo 1985 Physical Description: monoprint, 38cm x 48cm Flat Box 7 Amiga 1985 Physical Description: aquatint etching, 30.5cm x 40cm Flat Box 7 Soldier Boys ca. 1980 Physical Description: color xerox collage, 1 of 5, 43cm x 28cm Flat Box 7 Amor Bonito[?] ca. 1980 Physical Description: color xerox collage, 2 of 5, 43cm x 28cm Flat Box 7 Sisters - The Grapefields ca. 1938[?] ca. 1980 Physical Description: color xerox collage, 3 of 5, 43cm x 28cm Flat Box 7 Musical Dreams[?] ca. 1980 Physical Description: color xerox collage, 4 of 5, 43cm x 28cm Flat Box 7 Sisters - The Cottonfields ca. 1938 ca. 1980 Physical Description: color xerox collage, 5 of 5, 43cm x 28cm Map Folder 7 Paul Revere On His Mustang 1976 Physical Description: print[?], artist's proof, 29.5cm x 45cm Map Folder 8 Yo y Pride 1985 Physical Description: print[?], 2/5, 38cm x 56.5cm Map Folder 8 Dia de los Muertos Xicanas 1983 Physical Description: etching, artist's print, 37.5cm x 56.5 Guide to the Ester Hernandez M1301 5 Papers Series 1Artwork 1.3Prints Map Folder 8 Never On Sunday 1980 Physical Description: aquatint, 1/3, 42.5cm x 55cm Map Folder 8 Eagle Print I 1985 Physical Description: mixed media, 75.5cm x 56.5cm Map Folder 8 Frida y Yo 1998 Physical Description: lithograph, 70/100, 56.5cm x 76cm Map Folder 9 Corazon II 1986 Physical Description: collograph embossment, 55cm x 76cm Map Folder 9 Dance of the Eagle Spirit 1985 Physical Description: mixed media, artist's proof, 72.5cm x 53.5cm Map Folder 9 Border Bruja 1994 Physical Description: ghost monoprint, 2/2, 66cm x 51cm Map Folder 9 Madonna Moderna 1994 Physical Description: mono screenprint, 51cm x 66cm Map Folder 9 La Piscadora 1989 Physical Description: mono screenprint
Recommended publications
  • FY 18-19 Annual Report
    YERBA BUENA DISCOVER THE UNEXPECTED YBCBD ANNUAL REPORT 2018–2019 DISCOVER THE UNEXPECTED Dear Friends and Neighbors, ARTIST JR CREATES AN ORIGINAL MURAL IN YERBA BUENA It’s certain that residents, workers, and visitors to Yerba Buena will experience something new, exciting, and inspiring. The neighborhood’s tapestry is one of renown museums and galleries, landscaped gardens, and major convention facilities. There are unique places to dine, shop, and play. Amid all of this is an exhibition of public art, culinary and architectural excellence, and CITY AT NIGHT: YERBA BUENA UNDER A FULL MOON entertainment offerings unique to the city. To sustain and improve Yerba Buena’s unique characteristics, the YBCBD provides services to help make the neighborhood cleaner, safer, and even more inviting. Thank you to all who help us make Yerba Buena an exceptional place for people of all ages and backgrounds. It’s been an exciting and productive year. We’re thrilled that public art and artistry in the neighborhood grew to new heights — adding to unexpected moments of inspiration and wonder. As part of the Moscone Center expansion, there are now several new works of public art in and around the Moscone Center and Yerba Buena Gardens. The new collection augments major works that the YBCBD helped bring to the neighborhood. Yerba Buena’s ingenuity also extends to its renowned restaurants, architecture, and landscaped spaces. It is reflected in the hundreds of different performances each year of the Yerba Buena Gardens Festival, at the YBCBD’s annual Yerba Buena Night of music, dance and performance, and at our monthly theatrical neighborhood walks.
    [Show full text]
  • Hispanic Archival Collections Houston Metropolitan Research Cent
    Hispanic Archival Collections People Please note that not all of our Finding Aids are available online. If you would like to know about an inventory for a specific collection please call or visit the Texas Room of the Julia Ideson Building. In addition, many of our collections have a related oral history from the donor or subject of the collection. Many of these are available online via our Houston Area Digital Archive website. MSS 009 Hector Garcia Collection Hector Garcia was executive director of the Catholic Council on Community Relations, Diocese of Galveston-Houston, and an officer of Harris County PASO. The Harris County chapter of the Political Association of Spanish-Speaking Organizations (PASO) was formed in October 1961. Its purpose was to advocate on behalf of Mexican Americans. Its political activities included letter-writing campaigns, poll tax drives, bumper sticker brigades, telephone banks, and community get-out-the- vote rallies. PASO endorsed candidates supportive of Mexican American concerns. It took up issues of concern to Mexican Americans. It also advocated on behalf of Mexican Americans seeking jobs, and for Mexican American owned businesses. PASO produced such Mexican American political leaders as Leonel Castillo and Ben. T. Reyes. Hector Garcia was a member of PASO and its executive secretary of the Office of Community Relations. In the late 1970's, he was Executive Director of the Catholic Council on Community Relations for the Diocese of Galveston-Houston. The collection contains some materials related to some of his other interests outside of PASO including reports, correspondence, clippings about discrimination and the advancement of Mexican American; correspondence and notices of meetings and activities of PASO (Political Association of Spanish-Speaking Organizations of Harris County.
    [Show full text]
  • Siete Lenguas: the Rhetorical History of Dolores Huerta and the Rise of Chicana Rhetoric Christine Beagle
    University of New Mexico UNM Digital Repository English Language and Literature ETDs Electronic Theses and Dissertations 2-1-2016 Siete Lenguas: The Rhetorical History of Dolores Huerta and the Rise of Chicana Rhetoric Christine Beagle Follow this and additional works at: https://digitalrepository.unm.edu/engl_etds Recommended Citation Beagle, Christine. "Siete Lenguas: The Rhetorical History of Dolores Huerta and the Rise of Chicana Rhetoric." (2016). https://digitalrepository.unm.edu/engl_etds/34 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 English Language and Literature ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Garcia i Christine Beagle Candidate English, Rhetoric and Writing Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Michelle Hall Kells, Chairperson Irene Vasquez Natasha Jones Melina Vizcaino-Aleman Garcia ii SIETE LENGUAS: THE RHETORICAL HISTORY OF DOLORES HUERTA AND THE RISE OF CHICANA RHETORIC by CHRISTINE BEAGLE B.A., English Language and Literature, Angelo State University, 2005 M.A., English Language and Literature, Angelo State University, 2008 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY ENGLISH The University of New Mexico Albuquerque, New Mexico November 10, 2015 Garcia iii DEDICATION To my children Brandon, Aliyah, and Eric. Your brave and resilient love is my savior. I love you all. Garcia iv ACKNOWLEDGMENTS First, to my dissertation committee Michelle Hall Kells, Irene Vasquez, Natasha Jones, and Melina Vizcaino-Aleman for the inspiration and guidance in helping this dissertation project come to fruition.
    [Show full text]
  • H. Parks, Recreation and Open Space
    IV. Environmental Setting and Impacts H. Parks, Recreation and Open Space Environmental Setting The San Francisco Recreation and Park Department maintains more than 200 parks, playgrounds, and open spaces throughout the City. The City’s park system also includes 15 recreation centers, nine swimming pools, five golf courses as well as tennis courts, ball diamonds, athletic fields and basketball courts. The Recreation and Park Department manages the Marina Yacht Harbor, Candlestick (Monster) Park, the San Francisco Zoo, and the Lake Merced Complex. In total, the Department currently owns and manages roughly 3,380 acres of parkland and open space. Together with other city agencies and state and federal open space properties within the city, about 6,360 acres of recreational resources (a variety of parks, walkways, landscaped areas, recreational facilities, playing fields and unmaintained open areas) serve San Francisco.172 San Franciscans also benefit from the Bay Area regional open spaces system. Regional resources include public open spaces managed by the East Bay Regional Park District in Alameda and Contra Costa counties; the National Park Service in Marin, San Francisco and San Mateo counties as well as state park and recreation areas throughout. In addition, thousands of acres of watershed and agricultural lands are preserved as open spaces by water and utility districts or in private ownership. The Bay Trail is a planned recreational corridor that, when complete, will encircle San Francisco and San Pablo Bays with a continuous 400-mile network of bicycling and hiking trails. It will connect the shoreline of all nine Bay Area counties, link 47 cities, and cross the major toll bridges in the region.
    [Show full text]
  • The Keystone
    THE KEYSTONE SOUTHWESTERN WRITERS COLLECTION | WITTLIFF GALLERY OF SOUTHWESTERN & MEXICAN PHOTOGRAPHY FALL 2006 | SPECIAL COLLECTIONS AT THE ALKEK LIBRARY | WWW. LIBRARY. TXSTATE. EDU/ SPEC- COLL UNIVERSITY SAN MARCOS A member of the Texas State University System from the CURATOR (right) Raymond, ¡Saludos! are extensively represented in the Wittliff Gallery, tells the (left) Sally Wittliff, 1991, Keith Carter The power of art in life is a story of a cleaning woman who said to him that in the the Bill Wittliff, Dawn Jones, Tommy Lee recurring motif here at the building where she worked there was one of his pictures— Jones, Sam Shepard, THANK YOU Collections, vividly set an old blind man petting a bunch of tiny kittens that were in & John Graves to all contributors forth once again by Graci- his lap and crawling over his shirt—eyes not open yet, blind of (seated)* who made gifts ela Iturbide in her book, like him. An edgy, unsentimental portrait that nevertheless Spirit (center) Emcee this fiscal year for Evan Smith, editor- Eyes to Fly With, upcoming reaches into every single chamber of your heart. She told general support or in-chief of TEXAS in the Wittliff Gallery Keith that she looked at it each day before she started work MONTHLY** to sponsor specific Series (p. 12). In the rare because it made her feel so good. anniversary gala projects: Place (below) revelatory text she ex- The life-changing power of art is not for the practition- Debbie & Jim # Azadoutioun Epperson, president plains how, after the death ers of art alone—it’s for all of us.
    [Show full text]
  • Mexican American History Resources at the Briscoe Center for American History: a Bibliography
    Mexican American History Resources at the Briscoe Center for American History: A Bibliography The Briscoe Center for American History at the University of Texas at Austin offers a wide variety of material for the study of Mexican American life, history, and culture in Texas. As with all ethnic groups, the study of Mexican Americans in Texas can be approached from many perspectives through the use of books, photographs, music, dissertations and theses, newspapers, the personal papers of individuals, and business and governmental records. This bibliography will familiarize researchers with many of the resources relating to Mexican Americans in Texas available at the Center for American History. For complete coverage in this area, the researcher should also consult the holdings of the Benson Latin American Collection, adjacent to the Center for American History. Compiled by John Wheat, 2001 Updated: 2010 2 Contents: General Works: p. 3 Spanish and Mexican Eras: p. 11 Republic and State of Texas (19th century): p. 32 Texas since 1900: p. 38 Biography / Autobiography: p. 47 Community and Regional History: p. 56 The Border: p. 71 Education: p. 83 Business, Professions, and Labor: p. 91 Politics, Suffrage, and Civil Rights: p. 112 Race Relations and Cultural Identity: p. 124 Immigration and Illegal Aliens: p. 133 Women’s History: p. 138 Folklore and Religion: p. 148 Juvenile Literature: p. 160 Music, Art, and Literature: p. 162 Language: p. 176 Spanish-language Newspapers: p. 180 Archives and Manuscripts: p. 182 Music and Sound Archives: p. 188 Photographic Archives: p. 190 Prints and Photographs Collection (PPC): p. 190 Indexes: p.
    [Show full text]
  • Changemakers: Biographies of African Americans in San Francisco Who Made a Difference
    The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Leo T. McCarthy Center for Public Service and McCarthy Center Student Scholarship the Common Good 2020 Changemakers: Biographies of African Americans in San Francisco Who Made a Difference David Donahue Follow this and additional works at: https://repository.usfca.edu/mccarthy_stu Part of the History Commons CHANGEMAKERS AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE Biographies inspired by San Francisco’s Ella Hill Hutch Community Center murals researched, written, and edited by the University of San Francisco’s Martín-Baró Scholars and Esther Madríz Diversity Scholars CHANGEMAKERS: AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE © 2020 First edition, second printing University of San Francisco 2130 Fulton Street San Francisco, CA 94117 Published with the generous support of the Walter and Elise Haas Fund, Engage San Francisco, The Leo T. McCarthy Center for Public Service and the Common Good, The University of San Francisco College of Arts and Sciences, University of San Francisco Student Housing and Residential Education The front cover features a 1992 portrait of Ella Hill Hutch, painted by Eugene E. White The Inspiration Murals were painted in 1999 by Josef Norris, curated by Leonard ‘Lefty’ Gordon and Wendy Nelder, and supported by the San Francisco Arts Commission and the Mayor’s Offi ce Neighborhood Beautifi cation Project Grateful acknowledgment is made to the many contributors who made this book possible. Please see the back pages for more acknowledgments. The opinions expressed herein represent the voices of students at the University of San Francisco and do not necessarily refl ect the opinions of the University or our sponsors.
    [Show full text]
  • THE VISUAL ARTS of LINDA VALLEJO: Indigenous Spirituality, Indigenist Sensibility, and Emplacement
    THE VISUAL ARTS OF LINDA VALLEJO: Indigenous Spirituality, Indigenist Sensibility, and Emplacement Karen Mary Davalos Analyzing nearly forty years of art by Linda Vallejo, this article argues that her indigenist sensibility and indigenous spirituality create the aesthetics of disruption and continuity. In turn this entwined aesthetics generates emplacement, a praxis that resists or remedies the injuries of colonialism, patriarchy, and other systems of oppression that displace and disavow indigenous, Mexican, and Chicana/o populations in the Americas. Her visual art fits squarely within the trajectory of Chicana feminist decolonial practice, particularly in its empowerment of indigenous communities, Mexicans, and Chicana/os in the hemisphere. Key Words: Emplacement, hemispheric studies, aesthetic practice, spiritual mestizaje, decolonial imaginary, indigenous epistemology. Born in Los Angeles and raised by three generations of Mexican- heritage women, Linda Vallejo creates an oeuvre that is easy to understand as feminist and indigenist. Ancestral women, including three great-grandmothers, grandmothers, her mother, and several great aunts, were the artist’s first sources of feminist and indigenous knowledge. Vallejo describes one great- grandmother as “una indígena” because she was short, had dark skin, and wore trenzas and huaraches; she was also very strong, even fierce, having worked in the fields as she migrated north (Vallejo 2013).1 The appellation indicates the way in which Vallejo understands knowledge and subjectivity as emerging from material conditions, social forces, and affect, rather than biology. Vallejo is also a world traveler. Because of her father’s military service, she visited “all the major museums of Europe, many of them as a very young girl” (Vallejo 2013).
    [Show full text]
  • The LA Art Scene in the Political 1970S
    American Studies in Scandinavia, 48:1 (2016), pp. 61-83. Published by the Nordic Association for American Studies (NAAS). Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s Eva Zetterman University of Gothenburg Abstract: Originating in the context of the Civil Rights Movements and political ac- tivities addressing issues of race, gender and sexuality, the Women’s Liberation move- ment and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separa- tion, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by Chicana/o artists in Los Angeles. In so doing, the art activism by Anglo American feminists and Chicanas/os is comparatively investigated with Los Angeles as the spatial framework and the 1970s as the time frame. Four main com- ponents are discussed: their respective political aims, alternative art spaces, peda- gogical frameworks and aesthetic strategies. The study found that the art activisms by Anglo American feminists and Chicanas/os differed. These findings suggest that a task ahead is to open up a dialogue with Chicana/o activist art, making space for more diverse representations of activities and political issues, both on the mainstream art scene and in the history of art. Keywords: the Los Angeles art scene – art activism – alternative art spaces – Chica- nas/os – feminism In the historiography of fine art, the 1970s is recognized as the decade when feminism entered the scene.
    [Show full text]
  • 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.
    [Show full text]
  • 806/317-0676 E-Mail: [email protected]
    DR. CONSTANCE CORTEZ School of Art, Texas Tech University, Lubbock, Texas 79409 (cell) 806/317-0676 e-mail: [email protected] EDUCATION: 1995 Doctor of Philosophy (Art History), University of California, Los Angeles Dissertation: "Gaspar Antonio Chi and the Xiu Family Tree" •Major: Contact Period and Colonial Art of México •Minors: Chicano/a Art, Pre-Columbian Art of México, Classical Art •Areas of Specialization: Conquest Period cultures of the Americas & colonial and postcolonial discourse 1986 Master of Arts (Art History), The University of Texas at Austin Masters Thesis: "The Principal Bird Deity in Late Preclassic & Early Classic Maya Art" •Major: Pre-Columbian Art •Minor: Latin American Studies •Area of Specialization: Classic Maya Iconography and Epigraphy 1981 Bachelor of Arts (Art History), The University of Texas at Austin TEACHING EXPERIENCE: Sept.2003- Associate Professor, Texas Tech University (Tenure/Promotion to Associate, March 6, 2009) present Graduate courses: Themes of Contemporary Art [1985-2013]; Contemporary Theory; Methodology; Memory & Art; The Body in Contemporary Art. Undergraduate courses: Themes of Contemporary Art; Contemporary Chicana/o Art; 19th-20th century Mexican Art; Colonial Art of México; Survey II [Renaissance -Impression.]; Survey III [Post Impressionism - Contemporary]. Sept.1997- Assistant Professor, Santa Clara University May 2003 Tenure-track appointment. Undergraduate: Chicana/o Art; Modern Latin American Art; Colonial Art of Mexico & Perú; Pre-Columbian Art, Native North American Art; Survey of the Arts of Oceania, Africa, & the Americas. Sept.1996- Visiting Lecturer, University of California at Santa Cruz June 1997 Nine-month appointment. Undergraduate: Chicana/o Art; Colonial Art of México; Pre-Columbian Art, Native North American Art; Survey of the Arts of Oceania, Africa, & the Americas.
    [Show full text]
  • Hispanic Art in Texas Teacher Resource 2
    ART, IDENTITY, CULTURE TEJANO CULTURE IN EARLY TEXAS AND CONTEMPORARY ART LESSON ONE ART AND REPRESENTATION BEFORE THE LESSON It is important for students to be able to critically evaluate what they see, particularly as this relates to the representation of culture. Without a critical eye, students may accept stereotypical interpretations and not strive for accurate representations of peoples and cultures. OVERVIEW In this lesson, students identify and discuss how examples of Early Texas Art represent Tejano culture, comparing works for the ways that they construct their subjects. They will consider the social and historical conditions under which the images were made and offer plausible explanations for the paintings' meanings. Finally, they will evaluate what primary sources are necessary to investigate culture appropriately. In doing so, the students identify the tools that they will use in the remaining lessons. OBJECTIVES STUDENTS WILL: Interpret images for their meaning Compare different images for their meanings Employ terms introduced in the unit (Tejano, Anglo, culture, identity, representation, stereotype) Compose a plausible extension for each image Evaluate resources needed for more complete interpretations of the images HISTORICAL INFORMATION These three paintings represent different periods of Texas history. Theodore Gentilz's painting was created in the Republic of Texas (1836-1845). Gentilz was a Frenchman who moved to San Antonio in 1843 and painted the city's diverse cultures as he saw them. The image seen here represents a fandango dance. José Arpa made his image in 1929, just before the Dust Bowl and the Great Depression. Tejanos at this time experienced discrimination and schools were segregated.
    [Show full text]