Week 10 Post

One thing I found the most profound after competing this course is that I can be creative given the chance and space to do so. I am used to taking science courses where creativity is not often encouraged and instead it is mostly what the professor's beliefs and the textbooks context that conducts the creativity for us. It is mostly facts and data that defines a clear and cut right or wrong answer. I learned that with art there is not clear answer and that it allows one to be creative and improvise,change, and personalize once certain clear cut and defined lines or symbols.

I did not believe that I was able to be creative and discovered a developing desire for creativity in the constantly structured framework I have been conformed to. It is important to obtain a balance between the two. The most surprising discovery that was brought to my attention this quarter was the fact that the Chicana artist paintings and work did not always have to reflect the cultural aspects of Latinos. In fact some of the artists paintings did not include any aspect of the Chicano culture and was instead rather difficult to tell if they were in did Chicana artists or not. It was great to see a diverse range of artwork and to realize that because an artist is of a colored background does not mean that they have to always produce art related to their culture. It was truly remarkable to see every single students book on the last day of class and the many talents seen in the drawings. I was fascinated and amazed at how detailed and fun the artwork was and I am excited to continue this new joy of creativity and challenge myself to incorporate that in my future. 

Patssi Valdez Print Maker

In Document of 20th Century Latin American and Latino Art, Holly Barnet-Sanchez wrote an essay called "Where are the Chicana printmakers?: presence and absence in the work of Chicana artists of the movimiento where she describes how Chicana art from the mid 1970s until the end of the millennium had such a significant impact for Chicanos and Latinos. She describes the discovery of Chicana identity to the world. Barnet-Sanchez describes how "Chicana printmakers also reach beyond the specific needs of Chicano/a communities to build coalitions with others, locally, regionally, and globally" (118).  An example of locally and globally Chicana print art is Patssi Valdez, a Chicana print art artists,  whose art work has been seen from Los Angeles to even in the United Kingdom where the Chicano and Chicana populations are low. Patssi Valdez has local artwork as well displayed in Los Angeles County Museum of Art or better known as LACMA where she shows an exhibition of her artwork with ASCO is displayed. What is most surprising to me is how her artwork was copied and displayed in the United Kingdom by school children in the above photo, which was exactly what Barent-Sanchez was asking of Chicana artists. How there is an issue of sharing the Chicana identity and embracing it, which Patssi Valdez has accomplished through her artwork as a Chicana. Although her artwork may not specifically stand out as Chicana work she symbolizes the politics behind her artwork. Through her artwork it provides a way of better understanding of the Chicana identity and breaking stereotypes about Chicanos opening doors of opportunity for more artists.

Carmen Lomaz Garza painting: Curandera

The painting of the Curandera by Carmen Lomaz Garza was by far the most intriguing and family oriented. She turned a medicinal practice into a family event in support of the young daughter. She creates a holistic atmosphere in comparison to the usual one on one with a physician of which is not common in the Latino community. In the Latino community in my experiences involve my mother and my sister or at least my mother coming to the doctors office with me. This does not mean that the family may be over involved, but instead showing their support in helping that specific family member. It then becomes a holistic and religious event when it involves a Curandera. In my family my aunt was always the Curandera and in addition to the medicinal aspect of this painting, it reminded me of my own family healing events. Similar to the painting it was also a religious event in that there was prayer after the healing event as well. However, we did not hold those persons who were known as the Curanderos to a higher standard because of their medicinal practices. Although we would look to that person for their medical expertise it was always good to visit the doctor in addition to their recommendations. I truly enjoy looking at this picture and can already smell the incense my aunt would burn and the medicinal herbs she would mix with rubbing alcohol in addition to vix to heal the children in the family when we needed it. The different colors and the religious cross also provide a comfortable and safe feeling performing this event in that person's own home. I would love to see more of her painting with this medical and holistic perspective.

Week 7 Letter to Patricia Marroquin

Dear Patricia Marroquin,

I had the honor of presenting your artwork in my Chicana Art Class at UCLA.  Unfortunately it was extremely difficult to find information regarding your artwork.  I searched in the Chicano studies library at UCLA, the databases, linked in and facebook. I actually emailed the wrong Patricia Marroquin, which was quite interesting since I asked her if she could elaborate on how she was able to paint on the leaves although it was your artwork. With the little information I could find on the latinoartcommunity.org page I was truly fascinated with your work. My passion for the medical field and your passion for your grandmother’s medicinal practices allowed me to appreciate your artwork from my own Latina background and medical perspective.

I have several questions regarding your artwork on the leaves that I was unable to find through my own research. I was wondering if you sketched or painted the drawings onto the leaves? If you did paint the leaves what type of paint did you use? Additionally, did you experience difficulty while painting or drawing on the natural leaves in terms of the leaves breaking during the drawing process? I imagine it must have been challenging and taken lots of patience drawing on such a small space especially using natural leaves. I look forward to seeing more of your work in the future and if you have any upcoming events or showcases I would be more than willing to attend if provided with the information.

Best,

Darlene Vera

Response to Maria Delgado's Post of Camille Rose Garcia

Similar to Maria I am a Disney fanatic, however, unlike Maria, I was not aware of the negative or "dark" side behind many of the Disney fairy tales. The examples Maria used regarding Alice in Wonderland and Snow White was astonishing for me since there were several negative things in each fairy tale movie I did not realize as a child. Seeing it visually brought to life by this artist allowed to agree with Maria on how Camille Garcia does an amazing job revealing the dark side of the Disney tales through her artwork. Through vibrant intense colored backgrounds and cool, dark colored characters definitely allows one to see the contrast of which Camille is attempting for viewers to realize. 

Reading Maria's post made me look over Camille's artwork twice. In her post she used the example of Snow White, however, I did not immediately recognize that it was Snow White. I just thought it was an art piece using gothic colors that was intended to scare viewers, but it also caught my attention with their facial expressions. It made want to find out more information regarding the frightened facial expressions both characters have and what was going to occur next. I definitely would like to view more of her artwork since my joy of watching Disney fairy tales will never cease. One thing I would have liked to see is more paintings revealing any darkness if any of my favorite Disney movie The Little Mermaid. 

F2014Vera, Darlene Post of Laura Aguilar

Body Art

The class presentation about Laura Aguilar born in 1959 provided a very unique and eye opening way of creating artwork. I knew that artwork could consist of using one’s unclothed body to photograph or paint; however, I had never seen someone attempt to blend their natural body with the Earth. Her powerful example of her bare body lying against the rocks, sand, and underbrush in the dessert was a way of expressing touch and feeling. I was able to see how she related some of her photographs with depression and personal struggles she faced as a Mexican American and Irish American background, Lesbian and diagnosed with dyslexia. I understood that she took the Earth’s touch to deeper level

The expression she gave in her video where she described how comfortable she was talking the nude, walking in the nude, and photographing in the nude was a way for her to convey that there is a deeper connection to the earth. As a result, she was in her own photographs and gradually grew to become comfortable with her own body. The natural scenery of the Earth with the contrast of light and dark objects gave her the strength to gain confidence with her body. She felt that out in the open that no one could criticize her artwork. Essentially, she felt at ease with her photographs. Being out in the open dessert taking photoraghs was essentially her home away from home and that the dirt and soil will not let her go. I admire her work because she took the risk of exposing her bare body as a part of the landscape and rejecting what society thought of her. 

F2014Darlene,Vera Week 4 Martha Ramirez

The presentation of Martha Ramirez by Pablo Simental was the most significant presentation this week for me since I had the wonderful opportunity to have her as a professor last year at UCLA.  I truly enjoyed her class of El Dia de Los Muertos, which involved being creative and artistic to create an altar in memory of a loved one or friend. She inspired her students in learning  about the Nahuatl language, history, and culture since many Day of the Dead traditions are related to the Nahuatl culture. We had to create and set up the altars at the Social and Public Art Resource Center (SPARC) center and collectively as a class complete a spiritual calling of the Dead. I enjoyed painting and cutting my own skull and paper mache flowers to decorate my altar. Every year Martha Ramirez's students participate in the SPARC celebration. Her love for the Nahuatl culture did not begin at UCLA. 

Professor Ramirez helped build a Nahuatl University in Mexico by selecting the structure of the University and the artwork to go along with it. She is extremely rooted in her culture and believed it is important to teach about the Nahuatl culture to her students.Her artwork also depicts the Nahuatl culture in using the colors of the four directions of north, south, west and east . Her artwork will continue to inspire young college artists and the history of the Nahuatl culture and what she did to help preserve its history will persist as long as she continues to instill her artistic passion onto students. 

F2014Vera,Darlene Stencil Image

The stencil image I used composed of two images. The Si Se Puede image on the left and the heart with a Stethoscope image on the left. I originally only wanted to do the image on the left, however, found it rather challenging to cut out her shadows, eyes, and other details such as the gun she is holding. Instead, I cut out the Si Se Puede letters and the stethoscope with the heart. Both of these images are of much importance to me because I can relate it to my academic and career goals. There are not many Latino physicians in California and let alone just physicians in general who are willing to serve in predominately Latino communities. The majority of Non-Hispanic Physicians want to work in predominately affluent communities such as Beverly Hills, which already has plenty of physicians, clinics, and other medical resources. Whereas just across the freeways in East LA there is a shortage of physicians and especially Latino physicians who can relate and practice culturally competent health care.  Academics at UCLA in the sciences can be rather challenging coming from a low income and disadvantaged family and community, I definitely want to return back to the central valley and help others in my situation as a physician. These images allow me to remember my roots, my culture, and my family which motivates me to stay strong and focus on my studies regardless of how challenging the pathway may become because Si Se Puede.

F2014VeraDarlene (Patricia Marroquín)

The Chicana artist I have chosen to present on is Patricia Marroquin.

F2014Vera, Darlene Week 2: La Virgen De Guadalupe and Cara Artists

         Professora Gaspar de Alba's presentation about the Chicano Art Resistance and Affirmation (CARA) Art of the Chicano Art Movement 1965-1985 and then listening to the sharing of the Lady of Guadalupe walking showing empowerment was quite eye opening. I grew up in a very conservative Christian home and although I did not grow up with the Lady of Guadelupe in my household, many of my close friends did. I can recall seeing the original and conservative image of the Lady of Guadelupe displayed in their households or on chains around their necks. Viewing the images of the lady of Gudaelupe as a boxer, karate woman, wearing athletic or even small heels was quite empowering. Like Professora Alma mentioned in lecture, I was so used to having this socially expected image of the Virgin Mary to be conservative and calm rather than being mobile and strong.

 I found Profesora Gaspar de Alba's comment to be true that the art depicted in the CARA collection was created to point out and reveal injustices and to demand social justices and equality. La Virgen was restricted in that she was unable to step down from her pedastool of perfection and walk or run. She was expected to be fully covered with a long skirt and dress that she was not mobile in having to drag the skirt on the floor. Women are expected to uphold a certain image and societal role in their families that any divergence from that expected role of perfection by patriarchal society can cause many problems. For instance, it can cause issues in the Catholic church with Virgen Mary being portrayed as a strong independent and mobile woman as in those pieces of art discussed in lecture.

In my Christian home I grew up learning about God, Jesus, and the Holy Spirit. Although we did not have a picture of God in my household we always favorite bible versus posted on the living room walls. We also read our bibles at church and as a child read bible verses before going to bed. In my community as I previously discussed the majority pertained to the Catholic religion, but this did not steer me away from my religion. I respected others choices and opinions in regards to their religion. I learned about Jesus according to the Holy Bible and never questioned my religion since it was second nature for me having these Christian ideals and morals engraved in me as a child. There has been several reinterpretations in regards to the different denominations and other religions with separate versions to the Holy Bible. What I did question myself about was the different restrictions each church attempted to impose upon their members. I attended several churches where in one church I was looked down upon for wearing professional slacks and having hair that barely reached my shoulders. On the other hand, the women in this specific church I visited were restricted to only wearing skirts and having long hair that reached their waist lines. These women were expected to follow the patriarchal societal roles placed by that church. It reminded me of how the Catholic church was against the images of La Virgen wearing shoes and a shorter skirt that in my perspective exemplified empowerment to women. Overall, I truly enjoyed the lecture and was able to relate to it with my experience growing up in a conservative Christian home.

F2014Vera,Darlene

Hello Class,

My name is Darlene Vera and a fourth year Chicano and Chicana Studies Major. I am from Bakersfield, California which is in the San Joaquin Valley. The majority of the people in my community located on the East side of Bakersfield were immigrates who worked in the agricultural fields planting or growing grapes and oranges. Moving to UCLA was quite the cultural shock for me although my physical appearance may not have made it appear that way. I have always had to prove my cultural roots to those whom judged me by the light color of my skin. I often shock many people when I over hear their conservations in Spanish and they realize that I am not only able to understand them, but also respond to them in Spanish. My father is from Puerto Rico and my mother was from Guatemala and being raised in a Spanish household and community to UCLA was challenging. It was not until I took my first Chicano class that I saw other Latinos and people of color at UCLA. I truly enjoyed the material I was learning as a Chicano and Chicana studies major. As a result, I switched to a Chicano and Chicana Studies major.

After reading "Out of the House, the Halo, and the Whore's Mask: The Mirror of Malinchismo" I still needed some clarification on the definition provided for Identity politics. Identity politics is described as a "kind of party-line, a philosophy of race/class/gender differences that constitutes a particular group's sense of community and public action" (122). What exactly is meant by "party-line" and how does that give a sense of community and public action?  I personally think it might be a mixture of all three differences since Chicana women in the Chicano movement were seen as traitors and very few women were allowed to participate in art, but I wanted a more in depth response especially in comparison to the Politics of identity.

In "There is no place like Aztlan" identity is portrayed as an equation that is composed of several personalized components. If identity is seen as an equation associated to that one specific person why is that one must be forced to identify themselves with one category in terms of race, class, and gender? What occurs to the equation if there are "gray" areas of identification instead of the "normal" black or white categories of identity?