1. LEWTHWAITE, STEPHANIE. “Reworking the Spanish Colonial Paradigm: Mestizaje and Spirituality in Contemporary New Mexican Art.” Journal of American Studies, vol. 47, no. 2, May 2013, pp. 339–2362. EBSCOhost, doi:10.1017/S002187581300011X.
In this Journal, Stephanie introduces Marion’s notion of “Mixed-Tech Media” and how she recycles computer parts to create her religious artwork. According to Stephanie, Martinez views computer parts as more than that and admires their beauty which inspired her to make art out of them. She also claims that Martinez aside from being able to make artwork with technology, she is also establishing symbols of hybrid spirituality.
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2. Ramírez, Catherine S. “Deus Ex Machina: Tradition, Technology, and the Chicanafuturist Art of Marion C. Martinez.” AZTLÁN, vol. 29, no. 2, Sept. 2004, pp. 55–92. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=chd&AN=XCHD69140&site=ehost-live.
In this chapter of the book, the reader learns about Marion C. Martinez’s art through the use of computer hardware. Martinez’s unique way of creating art caught the eyes of many and created an impact in the world of art. The use of technology to create art related to her culture and religion expands the topic on chicanafuturism.
3. Ramírez, Catherine S. “Afrofuturism/Chicanafuturism: Fictive Kin.” AZTLÁN, vol. 33, no. 1, Mar. 2008, pp. 185–194. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=chd&AN=XCHD69322&site=ehost-live.
In this Essay, Catherine Ramirez acknowledges the artwork of Marion C. Martinez that she first saw at the Museum of International Folk Art in Santa Fe. According to Ramirez, the work of Marion has united high-tech and rasquache and has expanded on the notion of chicanafuturism. She also claims that it has changed the notions of many elements of life such as identity, technology, and the future.
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