Showing posts with label F2014LopezPhilomena. Show all posts
Showing posts with label F2014LopezPhilomena. Show all posts
Tuesday, October 21, 2014
Saturday, October 18, 2014
Philomena Lopez Week 2 Post
La Virgin de Guadalupe was present in my childhood, but she was never an icon I was taught to pray to or deeply admire. My mother raised me in a very untraditional way in which she taught me to question everything. Although I was raised in the Catholic Church, I also did bible study with Jehova's Witness. It was in these bible study sessions where I was told that La Virgin de Guadalupe was not a Virgin and they referred to the bible to support their claim that she had children after Jesus, therefore she was not a virgin.
I think it is great that Chicana artists reinterpret the icon and reclaim her as their own. In addition, I believe Chicana feminists and people should have the ability to question teachings and icons that have been accepted as absolute truths.
I think it is great that Chicana artists reinterpret the icon and reclaim her as their own. In addition, I believe Chicana feminists and people should have the ability to question teachings and icons that have been accepted as absolute truths.
Monday, October 13, 2014
Lopez,Philomena
Hello,
My name is Philomena Lopez and I am an Art History major with a specialization in Latin America and Chicana art. I am in the Ronald E. McNair Scholars program and I am currently working on a project that explores the reclamation of gender roles in the murals of Chicana artists from Los Angeles and San Francisco. I plan to get a Ph.D in Art History and eventually become a curator and professor.
In the chapter "Out of the House, the Halo, and the Whore's Mask: The Mirror of Malinchismo", Gaspar de Alba discusses the decolonization and transformation of the female body into an "active speaking subject rather than a passive object of display and male gratification" (pg.132). Furthermore, how have Chicana artists depicted the male body in their works of art? Is there a common theme of depicting the male body as passive, or is the male body generally excluded within the works of Chicana artists?
In the article "There's No Place Like Aztlan:Embodied Aesthetics in Chicana Art", Gaspar de Alba discusses the representation of a Chicana/o and Latina/o identity as well as the dynamics of place and space that exist within museum exhibitions. Gaspar de Alba questions the efforts made by The Smithsonian in creating a Latino Virtual Gallery asking:
"If we stop existing as bodies in a place and rely on the representation of our bodies in virtual reality, then what institutional transformation have we really achieved? Through a virtual gallery, will Latinas and Latinos be fully embodied, or merely imagined at the Smithsonian?"
Furthermore, I question: What measures must be taken within art institutions in order to fully represent Latina/os and create a new space for the discussion of Latina/o and Chicana/o art?
My name is Philomena Lopez and I am an Art History major with a specialization in Latin America and Chicana art. I am in the Ronald E. McNair Scholars program and I am currently working on a project that explores the reclamation of gender roles in the murals of Chicana artists from Los Angeles and San Francisco. I plan to get a Ph.D in Art History and eventually become a curator and professor.
In the chapter "Out of the House, the Halo, and the Whore's Mask: The Mirror of Malinchismo", Gaspar de Alba discusses the decolonization and transformation of the female body into an "active speaking subject rather than a passive object of display and male gratification" (pg.132). Furthermore, how have Chicana artists depicted the male body in their works of art? Is there a common theme of depicting the male body as passive, or is the male body generally excluded within the works of Chicana artists?
In the article "There's No Place Like Aztlan:Embodied Aesthetics in Chicana Art", Gaspar de Alba discusses the representation of a Chicana/o and Latina/o identity as well as the dynamics of place and space that exist within museum exhibitions. Gaspar de Alba questions the efforts made by The Smithsonian in creating a Latino Virtual Gallery asking:
"If we stop existing as bodies in a place and rely on the representation of our bodies in virtual reality, then what institutional transformation have we really achieved? Through a virtual gallery, will Latinas and Latinos be fully embodied, or merely imagined at the Smithsonian?"
Furthermore, I question: What measures must be taken within art institutions in order to fully represent Latina/os and create a new space for the discussion of Latina/o and Chicana/o art?
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