Beemer, Bri Week 10 Reflection

The concept that I learned in this class “Chicana Art and Artists” that I will now reflect on is the idea of rasquachismo. I found this to be a very interesting concept of making due with what you have and the creativity required to repurpose items. It is an aesthetic philosophy that can privilege practicality over traditional aesthetic appeals, but not exclusively so. I think reusing materials is a smart way to not make waste. I feel that I have utilized the concept of rasquachismo in my own life. Some of the examples are using a paperclip to extend a choker necklace, as mentioned in a previous blog post. Additionally, I upcycled my dad’s old shirt by cropping it and ironing a patch onto it. Then, I sewed the cropped-off fabric into a produce bag which was actually pretty hard to hand sew and I now understand why people use thimbles. I think in this way, rasquachismo can have some meaningful overlap with domesticana as women can reclaim traditionally feminine activities like sewing and cooking and use them as creative outlets. This is why one of my goals for the new year is to learn more about these activities and hopefully even get a sewing machine so that I can do and make more things for myself, instead of buying everything. There is value to traditional femininity and traditional femininity, so I think people who don’t want to conform to those should be able to without devaluing the original concepts. Bringing it back to rasquachismo, it’s interesting that the spirit of this idea can be found in many common expressions like “one man’s trash is another man’s treasure,” “beauty is in the eye of the beholder,” and “waste not, want not.” Rasquachismo can be an interesting philosophy to use to analyze art and culture.

Beemer Bri, Week 9

 

 The Chicana artist that I found to be the most interesting this week is Martha Ramirez-Oropeza. She works as a muralist, a theater performer, and also a professor of Nahuatl philosophy and history. She was born in Chihuahua, Mexico and traveled back and forth between the United States and Mexico since. Her parents were farm-workers so they needed to move around often to find work. Later, Ramirez-Oropeza went to a university in Mexico to become a student under the famous muralist David Siqueiros. There, she became fascinated by indigenous history and iconography so she later co-founded the Nahuatl University in Ocotepec, Morelos, Mexico.

 

Her use of a variety of vibrant colors and soft brush style create very beautiful images with deep connections to Nahuatl mythology and iconography. Particularly what I find fascinating is the juxtaposition of human (indigenous it looks like) figures and more fluid, surreal imagery of animals, smoke, and mythical creatures. In many of the works there seems to be an almost fusion of the animal and human figures in the painting likely to portray the Nahuatl beliefs about a particular animal or about their relationship with nature in general. Among the animals depicted the most common appear to be those with wings like various species of birds and butterflies. I’d be interested to know what the Nahuatl viewpoint is on winged creatures and how that may have influenced Martha Ramirez-Oropeza’s works of art. Many of the images also display some form of smoke which has been stylized rather than looking realistic. While not abandoning realism, the composition of certain elements and the soft, blended brush strokes create a distinct look for Ramirez-Oropeza’s works of art. Her inspiration for her painting comes from reading ancient Nahuatl writing known as codices and stories of village oral tradition that she has heard.

Beemer, Bri Week 8 (Ruby Chacon presentation)

 I am writing about the presentation that Lilibeth Chavez did on Ruby Chacon. I found the discussion about art in Utah and the concept of "Utana" to be very interesting. Chacon wanted to challenge the widespread notion that all of the art produced by Utah residents is only of vast desert landscapes. However, she still incorporates landscapes into some of her art, but she uses the desert canyons as a background rather than the core focus. I do not remember the names of the three art pieces, but two were portraits of her family members while the other mural is of Chicane people from all walks of life with a desert landscape in the background. As an aside, the reason why I say Chicane instead of Chicanx is because I read about how Chicanx is a very Americanized term because it would be clunky to say “chican-equis” in Spanish. Chicane succeeds in being both gender neutral and non-anglicized.

I really like that Chacon creates a lot of her art to be in publicly accessible. In most of the art spaces I have been in, there is a palpable air of elitism and pretentiousness so I like her “art for the people” philosophy. I think that murals and elaborate chalk drawings should be analyzed and studied at the same level as pieces in museums and galleries.

My favorite piece of Chacon’s was the one with the landscape in the background. It contains an iteration of the Virgen de Guadolupe theme that is found in much of Chicane art. She is the primary female figure in the mural which brings up interesting questions of how women are conceptualized and portrayed in Chicane art. The colors and vibrancy of the painting reflect the variety and diversity of Chicane communities. Overall, I really enjoyed the presentation about Chacon’s art.

Beemer, Bri Week 7

 In Claudia Zapata's journal article "Chicanx Graphics in the Digital Age" she explores how digital art and technology have impacted social movements. What I find most interesting from her article is VR experiences used to convey a political message and how technology can be used to criticize the tech industry. Zapata discusses how Nonny de la Peña, a big figure in VR, sees VR as an "empathy machine." However, an artistic medium called an "empathy machine" is no new occurrence since I learned that film is referred to as an empathy machine. Film claimed this label first and to me it fits better than for VR, so I think a more fitting reference for VR would be an "empathy-agency machine." Agency and interactivity are the primary features that distinguish the media of videogames and VR from film. I believe VR is better suited for gameplay and storytelling rather than just storytelling alone, but the immersive element makes de la Peña's project "Out of Exile: Daniel's Story" unique. Using VR technology to critique Silicon Valley is an interesting "fight fire with fire" approach. I am intrigued by the message of Michael Menchaca's work "Minority Report." I like that he questions "the Valley's reach and influence on society, its ability to effect behavior modification," but without that description, I would not pick up that message by just looking at the art as a standalone piece. However, I have not seen the visual narrative that is contained within the VR headset. I do think its interesting that he considers participants in the VR headsert part of the exhibition because onlookers will see how the viewer is interacting with the digital environment. The intersection of art and digital technologies can provide many opportunities for innovation and amplification of a message across social media channels. Therefore, I see Zapata's essay as a critical area of inquiry for the study of art.

Beemer, Bri Week 6

 

Xandra Ibarra is a Chicane visual and performance artist. She works within gender, ethnic, and LGBTQ+ studies. Her works have been cited and referenced in many academic texts. To be honest, Ibarra’s art is not for me so one of the few pieces of art that I didn’t dislike from Ibarra is the photography series Lo Norteño (2008). The series includes 3 photographs: one of a man in what appears to be a drained pool, a picture of an industrial/urban setting with the framework of a drive-in screen, and a woman in her front yard/garden. My favorite of the three is the last one since it appears to have the most meaning. The composition utilizes the grates of the fence, so it looks like the female subject is “behind bars.” Ibarra is invoking the iconography of prison in a garden setting that otherwise looks serene. There also appears to be statues of cherubs or angels which references the Christian/Catholic elements found in much of Chicane art.

 

I would compare Ibarra’s art to the aesthetic movement that advocates for “art for art’s sake” in that I find her art to be offensive for offending’s sake. I do not see a deeper meaning to most of the art that is worth the deeply unsettling construction. I think art can be provocative and unique without being gratuitously vulgar. The art is eye-catching and attention-grabbing, but for all the wrong reasons, in my view. I believe Yolanda Lopez does a much better job of creating art that is provocative and political without rejecting aesthetic value.

Some questions that I would have for Ibarra are:

1. Why did you choose to use an alias?

2. Do you think the offensive content and form of your art prevents a larger audience from interacting with your messages?

Beemer, Bri Wiki Draft (Connie Arismendi)

 

3. Connie Arismendi

   Background

   Connie Arismendi is a Chicana visual artist who works primarily in sculpture and mixed media installations. Her art is featured in public settings and private collections.^[1]

   Arismendi is the daughter of a Mexican mother and a Filipino father. They moved frequently before settling down in Corpus Christi, Texas. ^[2] She now lives and works in Austin, Texas.^[1]

   She earned her BFA from the University of Texas and her MFA from School of the Art Institute of Chicago.^[1]

   Art Career

   In 1999, her work "Ascent of Memory" was displayed in the Galeria Sin Fronteras in Austin, Texas.^[2]

   Her artworks "La Noche en Sevilla," "Bishounen (Beautiful Boy)," and "Sevilla" were accepted into the permanent collection of the United States Embassy in Belmopan, Belize.^[1]

   She formed a partnership with Laura Garanzuay to form Arismendi Garanzuay Studio in 2005.^[1] Together, they created "Rayo de Esperanza the Cesar Chavez Memorial."^[1]

   She made an aluminum sculpture for the Austin Public Library Terrazas Branch.^[3] The aluminum plate screen fixture was made in the style of papel picado.

   References

4. "Connie Arismendi – U.S. Department of State". Retrieved 2021-10-20.
5. Garza, Mary Jane; Fri.; Dec. 10; 1999. "Believing in Beauty". www.austinchronicle.com. Retrieved 2021-10-20.
"Equity by Design". American Libraries. 38 (4): 34–48. 2007. ISSN 0002-9769.

Beemer, Bri Week 5

 

A Carmen Lomas Garza image that stands out to me is Los Mesquites (page 18, figure 9). After I looked at the image and then read the description, I was surprised to realize that there were actually 11 human figures in total because I initially only saw 2 or 3 figures. I am intrigued by the supernatural, fantastical, and mythological concept of people being intertwined with trees that Garza has depicted. Even the mesquite trees themselves are connected to each other as a female figure from the left tree is embracing a male figure from the right tree. Also, the landscape in the background is very barren so the human figures just have each other to rely on for survival, underscoring how important relationships with others are to life and happiness.

The way she utilizes negative space to create the human figures draws the viewer in as they try to make sense of the image. The image is almost like an optical illusion, so while image includes serious themes like love and melancholy, the image still feels fun in an odd way. I really had to search for all 11 figures, so Garza’s work is not a piece of art that can be “consumed” quickly without missing some important elements. The theme of the image, that love is complicated, is matched by the complexity of the form and composition.

It is significant that Garza uses the mesquite tree for her artwork because the tree itself is a very hardy, resilient plant and I believe this is an intentional choice as it relates to love and the range of emotions within the human condition. It speaks to the resilience of people. Additionally, Garza’s message could be a reminder about how humanity and nature are fundamentally intertwined. Just as the trees are given life from their roots in the earth, humanity must rely on the Earth to support life.

Beemer, Bri (week 4, Rasquachismo)

 

    At its core, Rasquachismo is a defiant, underdog aesthetic and attitude. The content and form of art made under this philosophy is resourceful and creative. It seems that it is a philosophy or mindset first, and a style of art second. I find it very interesting that the term has been repurposed from what used to be a classist slur and has now been reclaimed. Rasquachismo has some overlap with “camp,” but differs in the way that there is an inseparable connection to class in the way that rasquachismo art is made and what is made.

    This sensibility can be seen in much of Yolanda M. Lopez’s art, but the specific piece that stands out to me is the one where her mother is sewing herself a Virgen de Guadalupe garment. In this way, Lopez’s mother is crafting her own holy or spiritual garment and making your own clothes is most commonly associated with the working class. Rasquachismo embodies an assured sense of self that makes use of the tools and skills at a person’s disposal and rejects the consumerist notion that people need to buy more to have valuable things (or to be of value themselves.)

    I have been passionate about environmental protection for many years, so I always like to make use of what I have and buy new things as a last resort. Many years ago, I bought a choker necklace that I really liked, but when I tried it on at home, it didn’t fit. To prevent the necklace from going to waste by just sitting in my jewelry box, I added a paperclip to the clasp as a makeshift extender. Mostly, my hair covers the paperclip, but I don’t even really care if people see it since I think it’s a clever way to make the necklace more useful to me. I had no idea that things like DIY and upcycling were part of an artistic philosophy like rasquachismo. 

 

Beemer, Bri. Research Abstract

https://www.jstor.org/stable/27771138

This journal article is about how library design and architecture should promote accessibility and inclusivity. My artist, Connie Arismendi, did an installation for the Austin Public Library. She created an aluminum plate screen wall in the style of “papel picado.”

 

https://www.austinchronicle.com/arts/1999-12-10/74954/

 

This newspaper article from 1999 is an interview with Connie Arismendi. She talks about how fabric and Mexican home altars serve as inspiration for her mixed media installations. She uses her work to explore her spirituality, emotions, and experiences as a woman. Arismendi says she does not begin her work with a concept, but rather is inspired by the objects and materials that attract her. Her work aims to provoke emotional reactions in her viewers. She had been encouraged to assimilate into American culture, but now attempts to reclaim her cultural heritage and works with “retablos” and “milagros.” In 1999, she had a display at the Galeria Sin Fronteras, so I will look for the exhibition catalogue in my later research.

 

https://art.state.gov/personnel/connie_arismendi/

 

This website is from the US Department of State because Arismendi’s art is displayed at a US embassy in Belize. It also provides biographical info such as Arismendi’s educational background which includes “a BFA from The University of Texas and an MFA from The School of the Art Institute of Chicago.” Additionally, it says she formed Arismendi Garanzuay Studio

with another artist in 2005.

 

 

 

Beemer, Bri Week 3

 My experiences with the iconography of the Virgin of Guadalupe come primarily from attending a Catholic school. For part of middle school and all of high school, the Madonna was a central image. The most significant example that I can remember is a statue of the Virgin of Guadalupe that was in the corner of the central courtyard. The experience I had in Catholic school did not give me the most positive impression of Catholicism, but I did always think that statue was pretty and I liked how it was surrounded by plants. I assume this was just landscaping, but I wonder if there was a deeper meaning in surrounding her with plants since she is a symbol of life and motherhood. 

I think it is interesting how the Virgin of Guadalupe gets brought up in discourse surrounding the Madonna/whore dichotomy trope. While this discussion comes up in all of literature, my primary interest is film so this is where I have heard about this trope pairing the most. From my impressions of this class so far, it seems that this discussion gets brought up in social movements in addition to media. I found it very interesting that a similar trope pairing comes up in discussions of the Chicane civil rights movement of women who are with the cause and their men versus women who are portrayed to betray the cause for their own interests. 

The Virgin of Guadalupe seems to provoke various interpretations and reactions. For some people, the Virgin of Guadalupe figure can be a source of guidance for people's faith and in that sense empowering. For others, the figure may feel restrictive and to confine women to narrowly defined standards of purity and femininity. Since her iconography contains multitudes, it perfectly follows that the themes and messages that the Virgin of Guadalupe represents are explore through art.

Melissa Depaz

 2. Connie Arismendi

3. Cristina Cardenas

Beemer, Brianna (Bri)

Hi my name is Brianna (Bri) Beemer. My pronouns are she/her. I am a 3rd year World Arts and Cultures major and will be adding a minor in Film, Television, and Digital Media Studies this fall. My interest in this class comes from an Art History class that I took as a freshman and enjoyed, and the fact that I wanted to take online classes. 

 

 

What I found interesting from the first reading “Why Have There Been No Great Women Artists” is the role that narrative plays within the mythologizing of the “great artists.” The discussion art historians and their biographies of famous artists shows how they almost create a super-hero origin story of how an artist got their powers (or genius.) This methodology has a highly individualized focus that highlights the disadvantages that male artists overcame to achieve greatness and de-emphasizes the advantages that they have due to sex, class, or familial connections.

 

What I found interesting about “Conditions for Producing Chicana Art” is that it utilized a more socio-cultural framework than an art historical-analytical one. I was expecting there to be more of a connection between the conditions and how that impacted what kind of art was produced by Chicana artists.

 

The art piece I was most drawn to from “Chicana Printmakers” is the “Self-Portrait” by Barbara Carrasco on page 19. It caught my eye because it looked similar to the Ancient Egyptian art style but upon closer inspection, it was not as similar as I initially thought. My interpretation of her self-portrait is that she as an artist wants to use her paintbrush for creative expression, but must fight against the more utilitarian paint roller that is trying to cover her up. I would be interested to know if this paintbrush vs. paint roller depiction is related to the practice of cities painting over murals.