Final Post

I am happy to come away from this class knowing having learned to sketch objects, and being able to recognize what those objects are. I used to have trouble drawing stick figures, and now I can draw a decent hand. It was a good experience to get into drawing mode and have it be relaxing. Drawing hands without putting too much pressure on myself became a way to cope and deal with small, everyday stresses. This was true especially with having a completed sketch book to show for a sense of accomplishment.

It was an incredibly positive experience to learn about and get to know the art of various "Chicana artists." I was moved by our guest speaker Carissa Garcia and her mother's experiences in creating murals and activist art. It's incredible that people can be so hateful and oppressive that they destroy someone's artwork. Especially when all it is is someone expressing their voice, and what they are experiencing on a daily basis (Las Mujeres Muralistas del Valle/the vandalism of their mural on farmland).

I enjoyed the student presentations and the different styles of art work by various Chicana artists. My favorites were Camille Rose Garcia and Jeaneen Carlino. Garcia interested me because of her pop surrealism style, and her attention to issues that plague the entire planet (such as our complacency and vanity). Carlino's art work are pieces that were fun (aesthetically pleasing) to look at, and she included more blatant messages in hers such as the word "Resist." When a culture that is looked at as a minority makes their voices heard, I now see a tendency to view those voices as controversial. It is important to resist attempts to silence our experiences, and to claim our rightful place as Americans.

Week 9 - Garza Inspired

For my Carmen Lomas Garza inspired drawing, I chose to draw what I often see my father doing, which is picking/cutting cactus plants.

I've been on the road most of the week  (I still am until tomorrow). During my trip I have seen a lot of cactus plants on roadsides next to mountains, which have reminded me of my dad and taking family vacations to Mexico when I was a child. I also have cactus in my back yard, so when he comes over he likes to cut pieces to cook and eat. Although my dad has used cactus for food for as long as I can remember, I still have not tried to eat it. It has never looked appetizing to me and I never noticed any kind of aroma for an idea of what the flavor might be like. I've never been a coward about trying "odd" kinds of foods, and this is the first time that I've realized that I could be missing out on something.

I usually spend Thanksgiving with him, so I thought about him a lot while I have been gone. When I think of what family means and what it should be, I look to him as an example. The cactus painting, with the hands reaching towards it with a knife (by Carmen Lomas Garza), reminded me of both my grandparents and my father. After initially drawing this, I felt a peaceful and familiar feeling about my own family and the things that make them happy. Since Thanksgiving is about being grateful, I think that in drawing this, I was expressing my own gratitude.

Since I have mostly been able to draw this inside a car, I plan on adding more details and color to it before the time comes to submit my sketch book.

Mitsy Ovalles

Dos de Tres Caidas, mixed media on canvas, 12 x12 in., 2009.

This artwork by Misty Ovalles gives off mixed messages in regards to Chicana feminism, which is why I chose it. In class we have focused on political and social equality in many of the art pieces that we have seen. Dos de Tres Caidas does send a message of womanly power in the strength of the subjects body, and in the crown she wears on her head. But, I think that in first looking at this piece, the eyes automatically go to the center, where the subjects breasts are prominent and cater to the male gaze. It is what photoshopped images of models usually look like. The most obvious thing about this work is the woman's highly sexualized body.

Second to her being mostly naked and portrayed in a non-realistic way, she is dressed to fight. Her luchadora costume does have functionality for her legs to move and be free for the fight. The top part of the costume would let her breasts be free for the fight too, but I'm not certain what function that would serve in battle. She also wears the crown on her head, and has her hand on her hip in a stance that exudes confidence. She has a bit of a scowl on her face, letting people know that she is not to be messed with.

The conflicting messages in this work tell me that it was not necessarily intended to be part of a political or social movement. But, the work does stand out because like other Chicana artists, the Chicana herself is the subject matter. It seems like if there were a slight difference to the piece (as in her breasts not being glamorized), the artwork would have sent a more powerful message of Chicana feminism. It is interesting how small decisions that the artists make can send powerful social directives.

Absolutely Chicana - Judy Baca

Absolutely Chicana, 2009. 9 color 24″x36″ Serigraph, by Judy Baca is a "portrait of the artist." 




I think that this piece interesting, not only because the image looks plain cool, but because of the seemingly ambivalent feel that the Judy Baca portrays. 

Judy painted this image from a photo of herself. I chose this image because I feel like it also portrays a sort of power in the sense that she looks relaxed and confident. (Even though smoking is horrid.) Health issues aside, the imagery shines a light on Judy as an individual. She is her own subject, and her portrait is aesthetically pleasant. 

There is also simplicity, in that it is just her alone. There is no other iconography or directly implied message she seems to be trying to send. Aside from the fact that she is a Chicana, and she is "done up" with hair and make-up, she is simply "being." 

This differs from many images that we have seen in class where there is underlying political or social messages. 

A similarity between this and other images seen before in class are that it is a self-portrait, to be seen by everyone. It is an image of a Chicana to be put in front of a large audience and to be part of mainstream art culture. 

This piece also reminds me of Yolanda Lopez’s work in putting women direct and center in artwork. Yolanda used images of herself, as well as her mother and grandmother in the focus of Chicana imagery. 

Carmen Lomas Garza - Raspas con Nieve

Raspas con Nieve. Intaglio print by Carmen Lomas Garza (1972).

Before looking at Garza's work, I was not at all familiar with intaglio printing. This image in particular, is one of two intaglio, hand-painted etchings of Raspas con Nieve, from the book Carmen Lomas Garza by Constance Cortez. (p. 34-35) In the etching which is not pictured, she uses watercolor on a light background. I chose this one because it seems to have more intricate details and reminds me of black and white static on old televisions. It appears to have taken place at about the time when those types of TVs were the norm. This scene appears to be that of a quiet, and peaceful narrative in Carmen's memory of an actual ice cream shop.

On the shop's walls are portraits of Jesus, JFK, and Benito Juarez. This adds historical significance to an everyday life scene. The style in which she etched the figures gives the print more child-like quality, setting the mood of the print.

The theme of this print falls in line with Carmen's reoccurring patterns of depicting the importance of family and kinship in regular life. Seemingly mundane activities are highlighted as having the most significance because of who we surround ourselves with. Creating from memories plays a role in how Constance Cortez described Garza's inspiration as well.

Again, this piece along with many of her others, portray Chicano culture as strongly family based. It is a positive portrayal that is brought forefront and highlighted in art. Raspas con Nieve is a form of pop art in that historical figures are included, along with being in a specific time and place. The setting of an ice cream shop gives a normalcy and belonging to American culture for the people in the piece, which represent the Chicano community.

Hollywood Forever - Dia De Los Muertos

I attended Dia De Los Muertos at Hollywood Forever Cemetery this past Saturday the 24th. It was my second time getting to see it and aside from the crowds, it was a fun experience. I think it is amazing to be at a cemetery where everyone is in good spirits while remembering the dead among us (as in the graves). I feel that the dead would want to be celebrated, which makes this event a perfect fit for my frame of mind. 

This photo is of the altar dedicated to Richie Valens (La Bamba). His music played in the background at this altar while two people in costume danced to one of his slow ballads. 

This altar was dedicated to the missing 43 students in Ayotzinapa. A few people were dressed up in protest, and holding signs walking silently throughout the cemetery as a vigil in their honor.

Here I am with some of my family while we waited for Lila Downs to come to the stage. I didn't dress up this year like I did the previous year because I had two assignments to finish that day. :(

And here is Lila Downs on the stage. It was my first time seeing her and hearing her music. I thought she was amazing. It was a little bit spooky that she's a doppleganger for my grandmother who passed away a while ago. My grandmother used to sing Mexican music (in traditional dress) as well so it was like watching her all over again. 

Overall this was a fun experience. I love large gatherings where people come together to share a rich culture over similar experiences.

Tree Branch Stencil

I chose a branch stencil (with leaves) for my art book. I found a drawn image in Google images to print. I then used an X-acto knife to cut out the spaces for where I wanted to add my paint color to.

I like trees, a lot. So much so that people make fun of me and call me a tree hugger. I take it as a compliment. I decided on a branch as opposed to a tree since I'm a beginner at this and the full tree looked incredibly intricate. I will take that on as my next project, maybe.

Sitting outside among trees, and in peace and quiet is therapeutic for me. It has been for as long as I can remember. Especially since I value and enjoy solitude. Being alone with my thoughts and without distractions for a little while brings me back to center. It seems like a form of meditation because I feel energized after feeling and listening to the breeze make it's way through leaves in surrounding trees.

This was my second try in cutting out a stencil after the first one I made didn't look as good as I'd imagined. I'm glad I picked a simple style to represent something that I love, since it took a lot of time to cut this one out. I'm excited to add color to it, and to see the end result on the cover of my book.

Laura Alvarez - DAS

This piece by Laura Alvarez (DAS) immediately reminded me of recurring art work themes from class. DAS wears a crown that seems to omit signals from the top of her head, kind of like the glow that surrounds La Virgen. The bird she appears to be throwing could be another representation of wings/feathers/angels that occur with La Virgen and Coyolxauhqui. All of these works represent strength, femininity, and power.

DAS holds power that cannot be seen. Domestic workers are only paid attention to when given orders, and they are stealth in their presence. Their work is respectable, but society puts them on a class level beneath those we are supposed to look up to in order to preserve power. DAS serves to unmask silent power. Domestic workers play an important role in helping families' lives run more smoothly, and even raising their children. Although the work is heavy and laborious, it is not less important or dignified, because it gives the worker a chance to provide for her family.

Laura Alvarez does an incredible job at changing our perspective about maids/housekeepers/nannies. DAS is confident, intelligent, and fearless. Alvarez's art speaks to Blake's ideas about stereotypical and generally oppressive roles for women. I also see that in regards to gender/sexuality, DAS is portrayed as having a strong, athletic body for the most part. It is the result of physical labor and secret agent duties. I'm not so sure, however, that DAS isn't sexualized in a way that caters to the male gaze. But, I do see how the comic book aspect of DAS would require her portrayal in this way (as the heroine).

It is very possible that a life-long domestic worker will be held back from pursuing her truest wishes in life (as Blake mentions in regards to women serving men, and outdated gender roles). She works in order to survive, but her daughters will have options because of their mother's hard work. These images can even represent the girl that is using her income to pay for college. Those factors hold immense power. This is what I see when I look at her work.

Shifra Goldman & Yolanda Lopez: Blog 3

Shifra M. Goldman’s essay focuses on the social art perspective, and “Chicano culture manifestations.” In Chicano art, the theme has been a “quest for social identity…(and) a response to oppression by dominant culture.” 

According to Goldman, there was a Chicano phase in Mexican American art that occurred during 1965 through the 1980’s. This phase was an important movement as affirmation of Chicano culture was appearing in order to celebrate identity. 

There has been a long, deeply rooted history of xenophobia in the U.S., with european culture trying to preserve dominance through racism. Claims were made that Mexicans were inferior at a time when Indians were being eradicated with the excuse that they were savages. Having Spaniard blood added to the so-called inferiority because Spain was being looked at as the lesser of the European nations for having “Moorish” roots. A small fraction of historical events enforcing oppression include: the Zoot suit riots, the Japanese concentration camps, and the expulsion of all Mexicans and Mexican Americans (regardless of birthplace) by the U.S. government. Also, the scapegoating of Mexicans, (immigrants and non-immigrants lumped together) continues and thrives in order to establish power. 

Example of cultural affirmation can be seen in the defiance of the Zoot Suiters holding their ground in their style, even when it was labeled and un-American by Hearst publishing (which at the time was a powerful media source). Affirmation has/is also been seen in Chicana art and resistance. 

In this piece by Yolanda Lopez, a working class, older woman is shown as dignified, strong, confident, and fierce. Lopez is expressing self-identity as the theme in her art to show Mexican-American women in a way that defied restrictive stereotypes in art and culture. The woman is posed in a work-type outfit, resting on La Virgen's cape, she is the center-framed with gold, and she has slayed a snake. This is an image of a bad-ass.

Questions for Professor Gaspar de Alba

There’s No Place Like Aztlan: Embodied Aesthetics in Chicana Art.

Hows does Aztlan help Chicanos to better understand their identity and culture?

Aztlan is a state of being, from having both U.S. and Mexican experiences. Given, they are both the same land, with cultural movement constantly flowing in between borders. Identifying as both Chicana and American comes with having a rich culture/heritage and strong ties to Mexico. This gives a unique perspective of the world, while uniting people with similar experiences.

Out of the House, the Halo, and the Whore’s Mask: The Mirror of Malinchismo

As represented in the CARA exhibit and in Mexican culture: Why were Chicanos for resistance except when it came to women’s roles? Do you think that men in the movement held on tightly to their power over women in such a way that they were projecting their own oppression? 

Chicanas were seen as having their own agenda. Chicanos may have viewed women who didn’t fit the traditional molds as a threat to culture preservation. Although Chicanas had their own struggles and viewpoints, they were not recognized as such due to the deeply ingrained machismo in Mexican culture (of all genders). Also, feminist tendencies in women were labeled as “white wannabes.” White culture was seen as oppression, and if Chicanas took on any ideals that were labeled as being held by white culture only, they were stigmatized. Chicana feminism struggled (and continues) to diverge from the ideals of machismo.

Portera, Selina

Hi, I'm Selina.

I'm a fourth year Anthropology major and a transfer from Moorpark College. I was born in downtown LA, and I grew up in Korea Town, East LA, Compton, Long Beach, the San Gabriel Valley, the South Bay (El Segundo), Atlanta, San Francisco, and San Jose. I've been in diverse, as well as not so diverse settings during my entire school experience. I'm a free spirit, but unlike other free spirits that I know, I'm a terrible artist (so far). Also, I wanted to take this class to be more connected to my heritage.

My dad is from Mexico and I grew up getting to visit his "Pueblo Mágico" at least once every other year. His small town is tight-knit, and it was always an incredible experience to be out of my element and in such a different setting than what I've known here in CA. I am a first generation college student; after having taken a huge break from school after HS graduation.

My exposure to La Virgen came mostly from my paternal grandmother during my visits to Mexico over Christmas holidays. She walked to church every single day at dawn and kept a Virgin statue on her night stand. She would pray with a rosary every time she sent us off to the airport to come back home.

My mother went through a short religious phase where she brought the Virgin into our house and we'd go to catholic mass. Still, no one had ever explained the Virgin's story to me. I remember resenting being in church and having a cast of all-males standing on a platform looking down and preaching to me. It never felt right. This is where they worshiped the Virgin, so for a long time, I resented her too.

Today, I'd consider myself somewhat culturally Catholic since I had both of my children baptized. I wanted to keep family tradition and their roots to Mexico alive.

One more thing: On Wednesday after our lecture, I took a shortcut through traffic to get my son to soccer practice on time. I drove through a neighborhood in my town that is slightly isolated. At one of the stops, I looked to my right side and saw this Virgin mural painted on the side of a house. I was pleasantly surprised considering that it was something I'd never expect to see where I live (Simi Valley), and I had just left a lecture dedicated to her.

Camille Rose Garcia

Camille Rose Garcia's art reminds me of a mix of Tim Burton's illustrations and early black and white cartoons. At first glance her work seems to be dark, which I like to interpret to be more fun and interesting.

Also, I am fascinated by Alice in Wonderland and she has some pieces with this theme featured on her web page. I know almost nothing about her so far, so I look forward to getting to know more about her work and her inspiration.