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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
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 -
Style Sheet for Aztlán: a Journal of Chicano Studies
Style Sheet for Aztlán: A Journal of Chicano Studies Articles submitted to Aztlán are accepted with the understanding that the author will agree to all style changes made by the copyeditor unless the changes drastically alter the author’s meaning. This style sheet is intended for use with articles written in English. Much of it also applies to those written in Spanish, but authors planning to submit Spanish-language texts should check with the editors for special instructions. 1. Reference Books Aztlán bases its style on the Chicago Manual of Style, 15th edition, with some modifications. Spelling follows Merriam-Webster’s Collegiate Dictionary, 11th edition. This sheet provides a guide to a number of style questions that come up frequently in Aztlán. 2. Titles and Subheads 2a. Article titles No endnotes are allowed on titles. Acknowledgments, information about the title or epigraph, or other general information about an article should go in an unnumbered note at the beginning of the endnotes (see section 12). 2b. Subheads Topical subheads should be used to break up the text at logical points. In general, Aztlán does not use more than two levels of subheads. Most articles have only one level. Authors should make the hierarchy of subheads clear by using large, bold, and/or italic type to differentiate levels of subheads. For example, level-1 and level-2 subheads might look like this: Ethnocentrism and Imperialism in the Imperial Valley Social and Spatial Marginalization of Latinos Do not set subheads in all caps. Do not number subheads. No endnotes are allowed on subheads. -
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: -
City of Los Angeles Mail
October 1st, 2020 Cultural Heritage Commission 200 North Spring Street, Room 272 Los Angeles, CA 90012 Re: Support for HCM Nominations of Proposed Monument – Centro de Arte Publico, CHC-2020-5209-HCM; Honorable members of the Cultural Heritage Commission. We are writing to express our strong support for the designation of the building proposed by Highland Park Heritage Trust as a Historic Cultural Monument: the Centro de Arte Publico located at 5605-5607 North Figueroa Street; The building that housed the Centro de Arte Publico serves as an important reminder of the history of the Chicano Movement in Highland Park and the artists who contributed to it with their creativity. The Centro de Arte Publico also housed ChismeArte that featured Chicano writers and was a driving force for Chicana feminism. It is essential that this history not be erased. The stories of these artists and of their contributions must not disappear. Latinxs cultural contributions and stories must be preserved. Throughout the City of Los Angeles buildings and murals that were important to the Chicano Movement are under threat of demolition or defacement. The designation of the Centro de Arte Publico will preserve it for future generations. Many important Chicano and Chicana artists called the Centro de Arte Publico home. The Centro was founded here in Highland Park by Carlos Almaraz, Guillermo Bejarano and Richard Durado. John Valadez, Barbara Carrasco, Dolores Cruz, Judithe Hernandez, Beto De La Rocha, Carlos Almaraz, Frank Romero, Richard Durado and Guillermo Bejarano were some of the artists associated with the Centro de Arte Publico. ChismeArte became an important vehicle for Chicana feminism. -
ABJECT Performances AESTHETIC STRATEGIES in LATINO CULTURAL PRODUCTION
ABJECT performances AESTHETIC STRATEGIES IN LATINO CULTURAL PRODUCTION Leticia Alvarado ABJECT performances Dissident Acts A series edited by Macarena Gomez- Barris and Diana Taylor ABJECT performances AESTHETIC STRATEGIES IN LATINO CULTURAL PRODUCTION LETICIA ALVARADO Duke University Press / Durham and London / 2018 © 2018 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by Heather Hensley Typeset in Scala Pro by Copperline Book Services, Inc. Library of Congress Cataloging- in- Publication Data Names: Alvarado, Leticia, [date] author. Title: Abject performances : aesthetic strategies in Latino cultural production / Leticia Alvarado. Description: Durham : Duke University Press, 2018. | Series: Dissident acts | Includes bibliographical references and index. Identifiers: lccn 2017045246 (print) | lccn 2017051045 (ebook) isbn 9780822371939 (ebook) isbn 9780822370635 (hardcover : alk. paper) isbn 9780822370789 (pbk. : alk. paper) Subjects: lcsh: Hispanic American mass media—Social aspects. | Hispanic American arts—Social aspects. | Hispanic Americans and mass media. | Mass media and culture. Classification: lcc p94.5.h58 (ebook) | lcc p94.5.h58 A48 2018 (print) | ddc 302.2308968/073—dc23 lc record available at https://lccn.loc.gov/2017045246 Cover art: Xandra Ibarra with Sophia Wang, Untitled (skins), 2015–2016. Performance documentation. Photograph by Robbie Sweeny. For the only people I ever want to see on purpose: Sydney, Lu, and Mika. And also for JEM. Love, a Hologram. Contents ix Acknowledgments 1 Introduction Sublime Abjection 25 Chapter 1 Other Desires: Ana Mendieta’s Abject Imaginings 57 Chapter 2 Phantom Assholes: Asco’s Affective Vortex 89 Chapter 3 Of Betties Decorous and Abject: Ugly Betty’s America la fea and Nao Bustamante’s America la bella 131 Chapter 4 Arriving at Apostasy: Performative Testimonies of Ambivalent Belonging 161 Conclusion Abject Embodiment 167 Notes 193 Bibliography 209 Index Acknowledgments i am humbled by the amount of support that brought this book to fruition. -
Arte Queer Chicano
bitácora arquitectura + número 34 EN Arte queer chicano Uriel Vides Bautista A mediados de 2015, la Galería de la Raza exhibió un mural que provocó triarcales de la sociedad dominante y los valores hegemónicos de la mascu- una acalorada discusión en redes sociales y actos de iconoclastia contem- linidad chicana, reafirmando a la vez el hecho de ser bilingües y biculturales poránea. El mural, que representa a sujetos queer, fue violentado tres veces dentro de Estados Unidos. consecutivas debido a cierta homofobia cultural que prevalece dentro de un sector de la comunidad chicana asentada en Mission District, San Fran- cisco. El contenido de esta obra y la significación dentro de su contexto son II algunos aspectos que analizaré a lo largo de este breve ensayo. El mural digital de Maricón Collective se inserta dentro de la tradición mu- ralista chicana, que tiene su origen en los murales que “los tres grandes”8 pintaron en distintos lugares de Estados Unidos, pero principalmente en I California. Mientras que en México el muralismo agotaba sus temáticas y La Galería de la Raza se encuentra ubicada en la 24th Street de Mission agonizaba junto con la vida de Siqueiros, en Estados Unidos resurgía de for- District, el barrio más antiguo de San Francisco.1 Este barrio fue en la década ma asombrosa gracias al Movimiento Chicano. Durante este periodo, según de 1970, en palabras del historiador Manuel G. Gonzales, “el corazón del George Vargas, los barrios chicanos de las principales ciudades del país se movimiento muralista de la ciudad”. La proliferación de murales fue impul- cubrieron de coloridos murales que, realizados de manera comunitaria, ex- sada, en este periodo, por los aires renovadores del llamado Movimiento presaban temas fundamentales para la comunidad como la raza, la clase, el Chicano.2 Ante la falta de espacios adecuados para la recreación y el espar- orgullo étnico y la denuncia social.9 cimiento, artistas y activistas chicanos pugnaron por la creación de centros En un ensayo, Edward J. -
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). -
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. -
A View of Unconcealed Alterities and Affirmations of Chicana Identity
LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University Volume 2 | Issue 1 Article 22 2013 Chicana Aesthetics: A View of Unconcealed Alterities and Affirmations of Chicana Identity through Laura Aguilar’s Photographic Images Daniel Perez California State University, Dominguez Hills, [email protected] Follow this and additional works at: http://scholarship.claremont.edu/lux Part of the Chicano Studies Commons, Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Inequality and Stratification Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Perez, Daniel (2013) "Chicana Aesthetics: A View of Unconcealed Alterities and Affirmations of Chicana Identity through Laura Aguilar’s Photographic Images," LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University: Vol. 2: Iss. 1, Article 22. Available at: http://scholarship.claremont.edu/lux/vol2/iss1/22 Perez: Unconcealed Alterities and Affirmations of Chicana Identity through Laura Aguilar’s Images Perez 1 Chicana Aesthetics: A View of Unconcealed Alterities and Affirmations of Chicana Identity through Laura Aguilar’s Photographic Images Daniel Perez California State University Dominguez Hills Abstract In this paper I will argue that Chicana feminist artist Laura Aguilar, Alma Lopez, Laura Molina, and Yreina D. Cervantez established a continuing counter-narrative of cultural hegemony and Western essentialized hegemonic identification. Through artistic expression they have developed an oppositional discourse that challenges racial stereotypes, discrimination, socio-economic inequalities, political representation, sexuality, femininity, and hegemonic discourse. I will present a complex critique of both art and culture through an inquiry of the production and evaluation of the Chicana feminist artist, their role as the artist, and their contributions to unfixing the traditional and marginalized feminine. -
CALIFAS El Arte De La Zona Fronteriza México-Estados Unidos
CALIFAS El Arte de la Zona Fronteriza México-Estados Unidos Art of the US-Mexico Borderlands CALIFAS El Arte de la Zona Fronteriza México-Estados Unidos Art of the US-Mexico Borderlands AGENCY (Ersela Kripa & Stephen Mueller) Chester Arnold Jesus Barraza Enrique Chagoya CRO studio (Adriana Cuellar & Marcel Sánchez) Ana Teresa Fernández Nathan Friedman Guillermo Galindo Curated by Michael Dear and Ronald Rael Rebeca García-González Assisted by Denise Klarquist Andrea Carrillo Iglesias Amalia Mesa-Bains September 11 - November 16, 2018 Richard Misrach Richmond Art Center Alejandro Luperca Morales Julio César Morales Postcommodity Rael San Fratello (Ronald Rael & Virginia San Fratello) Fernando Reyes Favianna Rodriguez Stephanie Syjuco David Taylor Judi Werthein Rio Yañez © 2018 Richmond Art Center All rights reserved. No part of this book may be reproduced in any form without permission from the Richmond Art Center. This exhibition and catalogue were organized by the Richmond Art Center and supported, in part, by the Zellerbach Family Foundation; Susan Chamberlin, Matt and Margaret Jacobson; and anonymous donors. Image Credits front cover: Julio César Morales, Day Dreaming Series (detail), 2018. Courtesy of the Artist and Gallery Wendi Norris, San Francisco pp. 6-7: Photograph by Michael Dear. Collage by Michelle Shofet pp. 12-13: LINEA DIVISORIA ENTRE MEXICO Y LOS ESTADOS UNIDOS, Colección Límites México-EEUU, Carpeta No. 4, Lámina No. 54; Autor: Salazar Ilárregui, José, Año 1853. Mapoteca ‘Manuel Orozco y Berra’, Servicio de Información Estadistica Agroalimentaria y Pesquera, SARGAPA. Reproduced with permission. Digital restoration by Tyson Gaskill pp. 23, 28, 36-37, 46-47: Photographs by Michael Dear back cover: Andrea Carrillo Iglesias, La Reina Califia / Queen Califia, 2018. -
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.