MAPPING NEW DIRECTIONS in Latino Research
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Chicano Studies Research Center Annual Report 2016-17 Submitted
Chicano Studies Research Center Annual Report 2016-17 Submitted by Director Chon A. Noriega TABLE OF CONTENTS I. DIRECTOR’S MESSAGE ..................................................................................................................... 3 II. DEVELOPMENT REPORT .................................................................................................................. 6 III. ADMINISTRATION, STAFF, FACULTY, AND ASSOCIATES ....................................................... 7 IV. ACADEMIC AND COMMUNITY RELATIONS .............................................................................. 10 V. LIBRARY AND ARCHIVE ................................................................................................................ 21 VI. PRESS .................................................................................................................................................. 32 VII. RESEARCH ......................................................................................................................................... 45 VIII. FACILITIES ........................................................................................................................................ 58 APPENDICES ............................................................................................................................................... 61 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 -
Chicano Identity and Asco's Aesthetics of Resistance by Jez Flores Garcia a Dissertation Submitted in Partial
Camp as a Weapon: Chicano Identity and Asco's Aesthetics of Resistance By Jez Flores Garcia A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Julia Bryan-Wilson, Chair Professor Darcy Grimaldo Grigsby Professor Todd Olson Professor Laura E. Pérez Spring 2020 Abstract Camp as a Weapon: Chicano Identity and Asco's Aesthetics of Resistance by Jez Flores García Doctor of Philosophy in History of Art University of California, Berkeley Professor Julia Bryan-Wilson, Chair This dissertation examines the aesthetic phenomenon of camp in the work of the East Los Angeles-based art group, Asco. Founded by Harry Gamboa, Jr., Gronk, Willie Herrón, III, and Patssi Valdez in the early 1970s, Asco produced a distinct blend of conceptual and performance-based art, which they exhibited in alternative art spaces and distributed as correspondence art. The group’s name, which means “nausea” in Spanish, speaks to the sensation their often provocative and politically motivated art ostensibly produces. The basis of this reaction lies in the stark contrast of Asco’s work to established Chicano art that emerged during the Chicano Movement. I organize my study through a consideration of each of Asco’s camp targets, or the objects of their critiques. These include the exploitation and oppression of the Chicano community, the limitations and liberation in Chicano muralism, and the glamour and biases of Hollywood. Each of these denote cultures and movements with which the young artists were enamored as well as alienated from in a complex insider/outsider relationship that enables camp critique. -
And They Were There-Reports of Meetings Sever Bordeianu University of New Mexico, [email protected]
Against the Grain Volume 25 | Issue 4 Article 33 September 2013 And They Were There-Reports of Meetings Sever Bordeianu University of New Mexico, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/atg Part of the Library and Information Science Commons Recommended Citation Bordeianu, Sever (2013) "And They eW re There-Reports of Meetings," Against the Grain: Vol. 25: Iss. 4, Article 33. DOI: https://doi.org/10.7771/2380-176X.6585 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. And They Were There Reports of Meetings — ARLIS 2013, WILU 2013 and the 32nd Annual Charleston Conference Column Editor: Sever Bordeianu (Head, Print Resources Section, University Libraries, MSC05 3020, 1 University of New Mexico, Albuquerque, NM 87131-0001; Phone: 505-277-2645; Fax: 505-277-9813) <[email protected]> Not Your Little Old Ladies’ Pasadena — ARLIS 2013 — Artists’ books were a hot topic of exploration at this conference. Pasadena, California, April 25-29, 2013. Allison Jai O’Dell (Free Library of Philadelphia) and Heather Slania (National Museum of Women in the Arts) presented to the Book Arts Reported by: Wendy Pedersen (Inter-American Library SIG their work on developing a standardized controlled vocabulary for Acquisitions Specialist, University of New Mexico) the description and cataloging of artists’ books. At a panel moderated by Yvonne Boyer (Vanderbilt University), we learned about the history Pasadena, California had the honor of hosting the 45th Annual from JAB publisher Brad Freeman (Center for Book and Paper Arts, Conference, “Crafting our Future,” for ARLIS/NA — the Art Columbia College), about cataloging from Nina Schneider (UCLA), Libraries Society of North America — this past April 25-29, 2013. -
Shooting from the Wild Zone. a Study of the Chicana Art Photographers
SHOOTING FROM THE WILD ZONE A Study of the Chicana Art Photographers Laura Aguilar, Celia Álvarez Muñoz, Delilah Montoya, and Kathy Vargas _____________________________________________________ Asta M. Kuusinen DOCTORAL DISSERTATION To be presented, with the permission of the Faculty of Arts of the University of Helsinki, for public criticism in Auditorium XII of the University Main Building on May 15th, 2006 @ 2006 by Asta Kuusinen All rights reserved ISBN 952-92-0196-6 (paperback) ISBN 952-10-3089-5 (PDF) Helsinki University Press, Helsinki, 2006 Cover photo by Delilah Montoya, La Loca & Sweetie from the series El Sagrado Corazón / The Sacred Heart, 1993. Courtesy of the artist. Layout by Asta Kuusinen ii CONTENTS LIST OF ILLUSTRATIONS iii ACKNOWLEDGMENTS vii PREFACE 1 PART I : CONTEXTS 8 1. INTRODUCTION 9 Critical Theory, Chicano Studies 9 Race or no Race 26 2. MYTHOLOGIES AND HISTORIES 37 El Norte, the Southwest, Aztlán 37 Regional Histories, Borderline Identities 52 3. IMAGES AND MEANINGS 77 Reading the Imagery of Chicanidad 77 Discourses on (Art) Photography 90 PART II : ESSAYS 99 4. HISTORY AS THE SITE OF IDENTIFICATION 104 The Machine in the Desert: El Límite by Celia Álvarez Muñoz 107 Behold the Unblinking Eye: My Alamo by Kathy Vargas 127 5. COMMUNITY AS THE SITE OF IDENTIFICATION 146 Comadres Corporation in Labor: Stillness and Motion by Laura Aguilar 149 Para mijitas y todos los carnales: El Sagrado Corazón / The Sacred Heart by Delilah Montoya 168 6. THE BODY POLITIC OF CHICANA REPRESENTATION 192 Queering Walden Pond: Nature Self-Portraits and Center by Laura Aguilar 197 The Pinto’s Flayed Hide: La Guadalupana by Delilah Montoya 218 Presence in Absence: Fibra y Furia: Exploitation is in Vogue and If Walls Could Speak / Si Las Paredes Hablaran by Celia Álvarez Muñoz 236 7.