DOCSLIB.ORG

Califas: Chicano Art and Culture in California

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CALIFAS CHICANO ART AND CULTURE IN CALIFORNIA VIDEOTAPE INDEX ..................................................................................... 1 CALIFAS CONFERENCE AUDIOTAPE INDEX .............................................. 21 TRANSCRIPT INDEX ...................................................... u ............................................----~------------------.-.-” ~~~~~ 24 SUBJECT CROSS REFERENCE . TRANSCRIPT INDEX ............................... 29 PRODUCTION ACKNOWLEDGEMENTS . 36 -6- CALIFAS: CHICANO ART AND CULTURE IN CALIFORNIA VIDEOTAPE INDEX TAPE # SUBJECT LOCATION DATE TIME 53 Interview, Rene Yanez San Francisco 10-29-82 20 minutes Interview, Ralph Maradiaga at Galeria de la Raza (also see tapes #54 and 55 for Maradiagaj 54 Interview, Ralph Maradiaga San Francisco 10-29-82 20 minutes 55 Interview, Rene Yanez and San Francisco 10-29-82 20 minutes Ralph Maradiaga together 56 Interview and artworks, Carmen Lomas Garza San Francisco 10-30-82 20 minutes 57 Interview and artworks, San Francisco 10-30-82 20 minutes Carmen Lomas Garza 58 Interview and artworks, San Francisco 10-30-82 20 minutes Carmen Lomas Garza Interview, Patricia San Francisco 10-30-82 Rodriguez 59 Interview, Patricia San Francisco 10-30-82 20 minutes Rodriguez 60 Interview and artworks, San Francisco 10-30-82 20 minutes Patricia Rodriguez 61 Interview and artworks, San Francisco 10-30-82 20 minutes Patricia Rodriguez Interview, Ray Patlan (also Berkeley 11-l-82 see tapes #70-72 for Patlan) .-.. -_-- -- __ -..-_ _. -5- CALIFAS: CHICANO ART AND CULTURE IN CALIFORNIA VIDEOTAPE INDEX TAPE # SUBJECT LOCATION DATE TIME 37 The Yellow Dog Exhibit and Santa Cruz 9-16-82 1 hour poetry reading by Cruz Zamarron for the 16th of Senty --...I-* pmhsxr , ..Avi “thII “f?rl~vA UY Zamarron and Jose Burciaga 38 The Yellow Dog Exhibit and Santa Cruz 9-l 6-82 20 minutes poetry reading by Cruz Zamarron for the 16th of Sept.e!!lber p with Lorna Dee Cervantes and Freddy Chavez 00s Interview, Luis Valdez at San Juan Bautista 10-19-82 30 minutes El Teatro Campesino play- house-* videotapes #39-47 are deleted from this collection and #00 is desi nated for this interview 'i also see #20, 48 Interview, Amalia Mesa-Bains San Francisco 10-29-82 20 minutes 49 Interview, Amalia Mesa-Bains San Francisco 1 O-29-82 20 minutes 50 Interview, Amalia Mesa-Bains San Francisco 10-29-82 20 minutes 51 Interview, Amalia Mesa-Bains San Francisco 20 minutes Galeria de la Raza, inter- San Francisco ; ;r$gg iors and Dia de 10s Muertos exhibition 52 Interview, Rene Yanez at San Francisco 10-29-82 20 Galeria de la Raza (also see minutes tapes #53, 55 and 75) ------ --___. -4- CALIFAS: CHICANO ART AND CULTURE IN CALIFORNIA VIDEOTAPE INDEX TAPE # SUBJECT LOCATION . DATE TIME 28 Toltecas en Aztlan and other Logan Heights, San Diego h-25-82 20 minutes Danzantes, ceremonia in Chicano Park 29 rn~-ir~~~lu~bac;uS en AZilaii arid oilier Logan Heights, San Diego 4-2 j-82 20 minutes Danzantes, ceremonia in Chicano Park 30 Toltecas en Aztlan and other Logan Heights, San Diego 4-25-82 20 minutes Danzantes, ceremonia in Chicano Park 31 Toltecas en Aztlan and other Logan Heights, San Diego L-25-82 20 minutes Danzantes, ceremonia in Chicano Park 32 Toltecas en Aztlan and other Logan Heights, San Diego 4-25-82 20 minutes Danzantes, ceremonia in Chicano Park 33 16th of September, Fiestas San Jose 9-12-82 20 minutes Patrias, awards ceremony with Daniel Valdez 34 16th of September, Fiestas San Jose 9-12-82 20 minutes Patrias, parade 35 16th of September, Fiestas San Jose 9-12-82 20 minutes Patrias, parade, music, lowrider car clubs, tattoos 36 16th of September, Fiestas San Jose 9-l 2-82 20 minutes Patrias, music by Jorge Santana, lowriders --. ---- _ _._. .- -3- CALIFAS: CHiCANO ART AND CULTURE IN CALIFORNIA VIDEOTAPE INDEX TAPE # SUBJC LOCATION DATE TIME 20 Los Illegal3 in concert at San Francisco 4-21-82 Old Waldorf Interview, Luis Valdez San Juan Bautista 10-19-82 (also see tape 00 - two camera interview) 21 Aerial views of Los Angeles from airline en route to 4-24-82 and San Diego San Diego Chicano Park Day and murals Logan Heights, San Diego 4-24-82 at Chicano Park 22 Chicano Park Day celebration Logan Heights, San Diego 4-24-82 Interview, Victor Ochoa, tattoos, lowrider car show 23 Chicano Park Day celebration Logan Heights, San Diego 4-24-82 murals in park, lowriders 24 Toltecas en Aztlan and other Logan Heights, San Diego 4-25-82 Danzantes, ceremonia in Chicano Park 25 Toltecas en Aztlan and other Logan Heights, San Diego 4-25-82 Danzantes, ceremonia in Chicano Park 26 Toltecas en Aztlan and other Logan Heights, San Diego 4-25-82 Danzantes, ceremonia in Chicano Park 27 Toltecas en Aztlan and other Logan Heights, San Diego 4-25-82 Danzantes, ceremonia in Chicano Park , -..--__ -- .--_--. /.------..---- /_-_- I.-..-_ __._._-___ __. _~~ .-..- h 4 -2- CALIFAS: CHICANO ART AND CULTURE IN CALIFORNIA VIDEOTAPE INDEX TAPE # SUBJECT LOCATION DATE TIME 13 Califas Conference presenta- San Juan Bautista 4-17-82 20 minutes tion at El Teatro Campesino Playhouse, poetry by Luzma Espinosa and Alurista 14 Califas Conference presenta- San Juan Bautista 4-17-82 20 minutes tion at El Teatro Campesino Playhouse, poetry by Alurista i-j Califas Conference presenta- San Juan Bautista 4-l 7-82 20 minutes tion at El Teatro Campesino Playhouse, poetry by Alurista and music by Los Illegal3 16 Califas Conference presenta- San Juan Bautista 4-17-82 20 minutes tion at El Teatro Campesino Playhouse, music by Los Illegal3 17 Califas Conference presenta- San Juan Bautista 4-17-82 20 minutes tion at El Teatro Campesino Playhouse, music by Los Illegal3 18 Los Illegal3 in concert at San Francisco 4-21-82 20 minutes Old Waldorf 19 Los Illegals in concert at San Francisco L-21-82 20 minutes Old Waldorf I VIDEOTAPE INDEX TAPE # SUBJECT LOCATION DATE TIME 1 Interview, Juventino Esparza University of California, 1 hour Beginning, interview, Santa Cruz Eduardo Carrillo 2 Interview, ikiuardo Carriiio U.C. Santa Cruz j-1 8-82 1 ho-ur 3 Califas Conference U.C. Santa Cruz 4-16-82 1 hour 4 Califas Conference U.C. Santa Cruz 4-l 6-82 1 hour TT 5 Califas Conference U.C. Santa Criiz A-17-82 1 hour 6 Califas Conference U.C. Santa Cruz 4-17-82 1 hour 7 Califas Conference U.C. Santa Cruz 4-17-82 1 hour 8 Califas Conference U.C. Santa Cruz 4-17-82 1 hour 9 Califas Conference U.C. Santa Cruz 4-18-82 1 hour 10 Califas Conference U.C. Santa Cruz 4-18-82 1 hour 11 Califas Conference lunch, U.C. Santa Cruz 4-17-82 20 minutes Califas Conference presenta- San Juan Bautista 4-17-82 tion, introduction by Luis Valdez at El Teatro Campesino Playhouse 12 Califas Conference presenta- San Juan Bautista 4-17-82 20 minutes tion at El Teatro Campesino Playhouse, poetry by Jose Montoya and Luzma Espinosa CALIFAS: CHICANO ART AND CULTURE IN CALIFORNIA VIDEOTAPE INDEX TAPE # SUBJECT LOCATION DATE TIME 62 Dia de 10s Muertos celebra- San Juan Bautista 10-31-82 20 minutes tion in the Old Plaza, music dance and parade 63 Dia de 10s Muertos celebra- San Juan Bautista 10-31-82 20 minutes tion in the Old Plaza, music theater by El Teatro Campes- in0 64 Dia de 10s Muertos celebra- San Juan Bautista 10-31-82 20 minutes tion in the Old Plaza, music theater by El Teatro Campes- in0 65 Interview, Daniel Valdez San Juan Bautista 10-31-82 20 minutes 66 Interview, Daniel Valdez San Juan Bautista 10-31-82 20 minutes 67 Interview and music, Daniel San Juan Bautista 10-31-82 20 minutes Valdez 68 Interview and music, Daniel San Juan Bautista 10-31-82 20 minutes Valdez 69 Interview, Daniel Valdez San Juan Bautista 10-31-82 20 minutes Music, other musicians 70 Interview, Ray Patlan Berkeley 11-1-82 20 minutes (also see tapes #61, 71 and 72 for Ray Patlan) 71 Interview, Ray Patlan Berkeley 11-l-82 20 minutes I -l3- 1 CALIFAS: CHICANO ART AND CULTURE IN CALIFORNIA VIDEOTAPE INDEX TAPE # SUBJECT LOCATION DATE TIME 72 Interview and artworks, Ray Berkeley 11-1-82 20 minutes Patlan 73 Murals and interviews with San Francisco 11-2-82 20 minutes PPOpiP 0,". the streets in the Mission District 74 Murals and interviews on the San Francisco 11-2-82 20 minutes streets in the Mission District 75 Murals in the 24th Street San Francisco 11-2-82 20 minutes Children's Park, exteriors of Galeria de la Raza and interview, Rene Yanez at Caleria de la Raza 76 Dia de 10s Muertos exhibit San Francisco 11-2-82 20 minutes at Galeria de la Raza, altares Second Wave, Chicano exhibit San Jose 11-2-82 at San Jose State University 77 Second Wave, Chicano exhibit San Jose 11-2-82 20 minutes at San Jose State University, Interview, Tim Drescher at exhibit 78 Freddy Chavez and the Quien Santa Cruz 5-20-83 20 minutes Soy Noodle Company, poetry and music at University of California, Santa Cruz _____--_ .- -s- CALIFAS: CHICANO ART AND CULTURE IN CALIFORNIA VIDEOTAPE INDEX TAPE # SUBJECT LOCATION DATE TIME 79 Freddy Chavez and the Quien Santa Cruz 5-20-83 20 minutes Soy Noodle Company, poetry and music ASCO performance of "Human Santa Cruz 5-20-83 Rites" and iishadow Soioii at University of California, Santa Cruz 80 ASCO performance of "Se Santa Cruz 5-20-83 20 minutes Habla Ingles, II by Marisela Norte at University of California, Santa Cruz 81 ASCO performance of Santa Cruz 5-20-83 20 minutes "Striptease If by Gronk and Kate Vozoff at University of California, Santa Cruz 82 ASCO performance of Santa Cruz 5-20-83 20 minute3 "Stripteasel' Interview, Harry Gamboa, Jr.
Recommended publications
  • Copyright by Cary Cordova 2005

    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.
  • WHEREAS, LULAC Is Our Nation's Oldest, Largest, and Most Respected

    WHEREAS, LULAC Is Our Nation's Oldest, Largest, and Most Respected

    RESOLUTION TO SUPPORT THE CHEECH MARIN CENTER FOR CHICANO ART, CULTURE, AND INDUSTRY WHEREAS, LULAC is our Nation’s oldest, largest, and most respected Hispanic/Latino civil rights organization, established in 1929. Our mission is to seek the advancement of Hispanic Americans in the areas of education, employment, and civil rights; and WHEREAS, for over 50 years, the Riverside Art Museum (RAM) has been the place in Inland Southern California where families and friends come to be engaged and inspired by visual art; and WHEREAS, RAM is a steward of the art and stories of the community via its Permanent Collection, and builds public value through its mission driven work; and WHEREAS, the Chicano Art Movement represents the establishment of a unique artistic identity by Mexican Americans in the United States and Chicanos who have used art to express their cultural values, both as protest and for aesthetic value; and WHEREAS, the art has evolved over time to not only illustrate current struggles and social issues, but also to continue to inform Chicano youth and unify around their culture and histories. Chicano art is not just Mexican-American artwork; it is a public forum that emphasizes otherwise “invisible” histories and people as a unique form of American art; and WHEREAS, Cheech Marin, an accomplished actor, director, writer, musician, art collector, and humanitarian is truly a multi-generational star, and Cheech Marin is the purveyor and collector of the largest Chicano art (over 700 pieces) in the United States; and WHEREAS, Cheech
  • Carmen Lomas Garza: Chicana Author and Illustrator

    Carmen Lomas Garza: Chicana Author and Illustrator

    Carmen Lomas Garza: Chicana Author and Illustrator THE ALMA PROJECT A Cultural Curriculum Infusion Model Denver Public Schools In partnership with Metropolitan State College of Denver THE ALMA PROJECT A Cultural Curriculum Infusion Model Carmen Lomas Garza: Chicana Author and Illustrator By Deborah J. Francis Grades: ECE - 2nd Implementation Time: 2-3 weeks Published 2002 Denver Public Schools, Denver, Colorado The Alma Curriculum and Teacher Training Project Loyola A. Martinez, Project Director Denver Public Schools, Denver, Colorado ABOUT THE ALMA PROJECT The Alma Curriculum and Teacher Training Project The Alma Curriculum and Teacher Training Project was made possible with funding from a Goals 2000 Partnerships for Educating Colorado Students grant awarded to the Denver Public Schools in July 1996. The Project is currently being funded by the Denver Public Schools. The intent of the Project is to have teachers in the Denver Public Schools develop instructional units on the history, contributions, and issues pertinent to Latinos and Hispanics in the southwest United States. Other experts, volunteers, and community organizations have also been directly involved in the development of content in history, literature, science, art, and music, as well as in teacher training. The instructional units have been developed for Early Childhood Education (ECE) through Grade 12. As instructional units are developed and field-tested, feedback from teachers is extremely valuable for making any necessary modifications in the topic development of future units of study. Feedback obtained in the spring of 1999, from 48 teachers at 14 sites, was compiled, documented and provided vital information for the field testing report presented to the Board of Education.
  • Oral History Interview with Barbara Carrasco

    Oral History Interview with Barbara Carrasco

    Oral history interview with Barbara Carrasco The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Barbara Carrasco AAA.carras99 Collection Overview Repository: Archives of American Art Title: Oral history interview with Barbara Carrasco Identifier:
  • Oral History Interview with Ramses Noriega

    Oral History Interview with Ramses Noriega

    Oral History interview with Ramses Noriega Noriega, Ramses, born 1944 Painter Los Angeles, California Part 1 of 2 Sound Cassette Duration – 24:12 INTERVIEW TRANSCRIPT DENISE LUGO: […] Ramses, when were you born? RAMSES NORIEGA: I was born in Caborca, Sonora, Mexico in 1944. DENISE LUGO: When did you come to the United States? RAMSES NORIEGA: Well I came in 1956. So I spent […] 12 years approximately. DENISE LUGO: Your first language was Spanish then? RAMSES NORIEGA: My first language is Spanish. English is my second adoptive language. DENISE LUGO: When you came, where did you go? Where did you settle? RAMSES NORIEGA: I consider myself a sprit of movement and my first movement was from Caborca to Mexicali. From Mexicali I developed my world perspective of humanity and I developed my philosophy and it was there that began to do my artwork. My first art works that I could remember were in two forms. They were what we used to call monitos de barro (clay/mud dolls) and they were graphics, drawing with pencil and with sticks or we would scratch the ground a lot and draw. And with the pencils we also used to do a lot of drawing on books, on wood, on anything that would be on flat that would take a pencil. I recall images from those days. The types of images we used to do in those days there was “El Santo” which was a luchador (Mexican wrestler) and we liked that. And there was another one, “Superman”. Which is called “Superman” in English and we used these characters.
  • Art, Culture Making, and Representation As Resistance in the Life of Manuel Gregorio Acosta Susannah Aquilina University of Texas at El Paso, Seaquilina@Utep.Edu

    Art, Culture Making, and Representation As Resistance in the Life of Manuel Gregorio Acosta Susannah Aquilina University of Texas at El Paso, [email protected]

    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2016-01-01 Art, Culture Making, and Representation as Resistance in the Life of Manuel Gregorio Acosta Susannah Aquilina University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the History Commons Recommended Citation Aquilina, Susannah, "Art, Culture Making, and Representation as Resistance in the Life of Manuel Gregorio Acosta" (2016). Open Access Theses & Dissertations. 801. https://digitalcommons.utep.edu/open_etd/801 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. ART, CULTURE MAKING, AND REPRESENTATION AS RESISTANCE IN THE LIFE OF MANUEL GREGORIO ACOSTA SUSANNAH ESTELLE AQUILINA Doctoral Program in Borderlands History APPROVED: Ernesto Chávez, Ph.D., Chair Michael Topp, Ph.D. Yolanda Chávez Leyva, Ph.D. Melissa Warak, Ph.D. Charles Ambler, Ph.D. Dean of the Graduate School Copyright © by Susannah Estelle Aquilina 2016 This dissertation is dedicated to Stone, Mila, Silver and all of you young ones who give us hope. ART, CULTURE MAKING, AND REPRESENTATION AS RESISTANCE IN THE LIFE OF MANUEL GREGORIO ACOSTA by SUSANNAH ESTELLE AQUILINA, B.A., M.A. DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Department of History THE UNIVERSITY OF TEXAS AT EL PASO May 2016 Acknowledgements I am indebted with gratitude to Dr.
  • Revolution, Freedom, and Oppression from Rivera to Coco

    Revolution, Freedom, and Oppression from Rivera to Coco

    International Journal of Art and Art History June 2018, Vol. 6, No. 1, pp. 1-12 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v6n1p1 URL: https://doi.org/10.15640/ijaah.v6n1p1 Revolution, Freedom, and Oppression from Rivera to Coco Rob Spencer1 Abstract The Mexican Revolution of 1910 attempted to redefine Mexico where the peasantry would be more involved in political decisions and where economics would combine agriculture and industry. Economic interests from foreign enterprises in the United States were successful in transporting the workforce north of the border to farm the agriculture for American farms. Poor treatment of Mexican laborers led to Cesar Chavez and the Chicano Movement to push for equality. In this essay, I will demonstrate that art provided the outlet for the Chicano community to secure justice for themselves during the turbulent times of the 1960s and 1970s and that this movement was successful during the time frame in which it was; however, it was not sustainable beyond those decades due to the dominance of American culture. Keywords: art, Chicano, Mexican, movement, culture 1. Introduction According to Aztec legend, every 52 years a cycle of death and rebirth occurred marking the end of an era of rule. When Hernan Cortes and his Spanish envoy landed on the shores of modern Mexico, it coincided with the Aztec belief that their supreme deity, Quetzalcoatl, had returned to signal in a new regime. Retold byAnita Brenner (2002), ―In Mexican mood, the messiah is always accompanied by disaster: an earthquake, a conquest, a revolution, the sacrifice of a ruler; death and pain‖ (p.
  • Ricardo Favela Royal Chicano Air Force Poster Collection MSS.2005.11.01

    Ricardo Favela Royal Chicano Air Force Poster Collection MSS.2005.11.01

    http://oac.cdlib.org/findaid/ark:/13030/kt1v19r5t3 No online items Guide to the Ricardo Favela Royal Chicano Air Force Poster Collection MSS.2005.11.01 Elizabeth Lopez Finding aid funded by the generous support of the National Historical Publications and Records Commission (NHPRC). SJSU Special Collections & Archives © 2009 Dr. Martin Luther King, Jr. Library San José State University One Washington Square San José, CA 95192-0028 [email protected] URL: http://library.sjsu.edu/sjsu-special-collections/sjsu-special-collections-and-archives Guide to the Ricardo Favela Royal MSS.2005.11.01 1 Chicano Air Force Poster Collection MSS.2005.11.01 Language of Material: Spanish; Castilian Contributing Institution: SJSU Special Collections & Archives Title: Ricardo Favela Royal Chicano Air Force Poster Collection creator: Royal Chicano Air Force source: Favela, Ricardo Identifier/Call Number: MSS.2005.11.01 Physical Description: 13 folders(192 posters) Date (inclusive): 1971-2005 Abstract: The Royal Chicano Air Force Poster Collection consists of 192 posters for community-based programs and events held by the city of Sacramento and students from California State University, Sacramento. Language of Material: Posters are in English and Spanish. Access The collection is open for research. Publication Rights Ricardo Favela has assigned copyright to the San José State University Library Special Collections & Archives where he is the copyright holder. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of Special Collections. Permission for publication is given on behalf of the Special Collections & Archives as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the reader.
  • Chicano and Latino Artists in the Pacific Northwest

    Chicano and Latino Artists in the Pacific Northwest

    Chicano and Latino Artists in the Pacific Northwest Exhibit Catalog Reformatted for use on the Chicano/Latino Archive Web site at The Evergreen State College www.evergreen.edu/library/ chicanolatino 2 | Chicano and Latino Artists in the Pacific Northwest A touring exhibition and catalog, with interpretive historical and cultural materials, featuring recent work of nine contemporary artists and essays by five humanist scholars. This project was produced at The Evergreen State College with primary funding support from the Washington Commission for the Humanities and the Washington State Arts Commission Preliminary research for this arts and humanities project was carried out in 1982 with a grant from the National Endowment for the Humanities. Exhibiting Artists Cecilia Alvarez Alfredo Arreguín Arturo Artorez Paul Berger Eduardo Calderón José E. Orantes José Reynoso José Luís Rodríguez Rubén Trejo Contributing Authors Lauro Flores Erasmo Gamboa Pat Matheny-White Sid White Tomás Ybarra-Frausto Contents ©1984 | 3 Introduction and Acknowledgements TheChicano and Latino Artists in the Pacific Northwest During the first phase of this project, funded by the project is the first effort to develop a major touring National Endowment for the Humanities in 1982, primary exhibition presenting works by Pacific Northwest Chicano field research was completed to identify artists’ public and and Latino artists. This project also features a catalog and personal work, and to gather information on social, cultural other interpretive materials which describe the society and and demographic patterns in Washington, Oregon and culture of Chicano/Latino people who have lived in this Idaho. Materials developed in the NEH project included region for generations, and the popular and public art that a demographic study by Gamboa, an unpublished social has expressed the heritage, struggles and aspirations of this history of artists by Ybarra-Frausto, and a survey of public community.
  • Art for La Causa

    Art for La Causa

    Art for La Causa The civil rights era of the 1960s, in which marginalized groups demanded equal rights, dramatically altered American society. Galvanized by the times in which they lived, Latino artists became masters of socially engaged art, challenging prevailing notions of American identity and affirming the mixed indigenous, African, and European heritage of Latino communities. Many artists reinvigorated mural and graphic traditions in an effort to reach ordinary people where they lived and worked. Whether energizing genres like history painting, or creating activist posters or works that penetrated bicultural experiences, Latino artists shaped and chronicled a turning point in American history. The Latino Civil Rights movement began around the same time as the African American Civil Rights movement during the 1960s. The Latino community founds its voice in civil rights activist Cesar Chavez in their quest for equality. Chavez, inspired by Gandhi and Martin Luther King Jr., implemented peaceful protest strategies in the effort to expand civil and labor rights for Latinos. The marches, strikes, and fasts that Chavez and others employed aided in raising awareness of unfair labor practices, such as low wages and poor working conditions facing the Latino community. These issues became compelling motivation for Latino artists to use their talents to raise awareness and engage others for La Causa. Their artwork, which began as an expression of public art forms, fueled ongoing political activism and a greater sense of cultural pride. Political banners and posters carried during marches and protests were some of the first art forms of the movement. While Emanuel Martinez’s Farm Workers Altar is an excellent example of early public art of the movement, Carmen Lomas Garza’s Camas para Sueños exudes cultural pride in depicting a scene of everyday life in a Mexican American family.
  • SERNA SUPERVISOR, FIRST DISTRICT Telephone (916) 874-5485 FAX (916) 874-7593 BOARD of SUPERVISORS E-Mail Supervisorserna@Saccounty.Net COUNTY of SACRAMENTO

    SERNA SUPERVISOR, FIRST DISTRICT Telephone (916) 874-5485 FAX (916) 874-7593 BOARD of SUPERVISORS E-Mail [email protected] COUNTY of SACRAMENTO

    PHIL SERNA SUPERVISOR, FIRST DISTRICT Telephone (916) 874-5485 FAX (916) 874-7593 BOARD OF SUPERVISORS E-Mail [email protected] COUNTY OF SACRAMENTO 700 H STREET, SUITE 2450, SACRAMENTO, CA 95814 FOR IMMEDIATE RELEASE CONTACT: Lisa Nava, Chief of Staff February 28, 2018 [email protected] 916.874.5485 Supervisor Serna, Royal Chicano Air Force and Sacramento Kings to dedicate new mural “Flight” at Golden 1 Center Sacramento, CA – This Thursday, March 1 at the Golden 1 Center, Sacramento County Supervisor Phil Serna, The Sacramento Kings, and founding members of the local art collective The Royal Chicano Air Force (RCAF), will dedicate a new panel mural public art installation titled “Flight.” According to the artwork’s project manager, RCAF co-founder Juan Carrillo, “The 27x11-foot, three- paneled mural tells the story of humankind's multi-generational evolution from Quetzalcoatl to El Sexto Sol, The Sixth Sun.” Carrillo adds, “The art work is an RCAF legacy piece for our home community reflecting who we are and what we value.” The project idea came from Sacramento County Supervisor Phil Serna who wanted to acknowledge the RCAF's profound legacy. Serna, the son of the late Joe Serna, Jr. – an RCAF co-founder and Sacramento's first Latino Mayor – also assembled the funding to make the project possible. Serna’s office commissioned the work in coordination with the Sacramento Metropolitan Arts Commission and City of Sacramento, owner of the Golden 1 Center arena. “The Royal Chicano Air Force significantly shaped who I am today especially the intersection of expression and activism, and the obligation to pursue social justice, which I think more and more elected people should hone these days,” says Serna.
  • 806/317-0676 E-Mail: C.Cortez@Ttu.Edu

    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.