Essay Question #1
After reading the essay “Out of the House, the Halo, and the
Whore’s Mask”, I learned much about Chicana Art and the representations of
Chicano and Chicana artists. The CARA exhibit was very riveting and I was
specifically fascinated by the compelling collection of art that shined the
spotlight on Chicano/a artists. However, it was brought to my attention that
female artists were evidently treated unequally through the showcasing of art
in the exhibit. The ratio for male arts versus female art in the CARA exhibit
was sorely visible, and this fact goes on to showcase the sexual inequalities
that uphold the patriarchally dominant Mexican culture.
The inequality portrayed at the CARA exhibit prompted me to
question Professor Gaspar de Alba. I am specifically interested to find out why
the female population, or the “Feminists” did not take any direct action in regards to
this discrepancy. A decent individual would presume that this discrepancy would
be insightful and very disrespectful to the Chicana artists. I question
why no one took action or had any incentive to do something about it. I
wonder if it was because they were afraid or because they assumed they would be
punished. Subsequently, was this done intentionally?
Essay Question #2
In Professor Gaspar de Alba’s “There’s No Place Like Azlan:
Embodied Aesthetics in Chicana Art, I was profoundly keen to find out why the
diaspora was gravely embodied by this imaginary territory, Aztlan. Also, I was
confused when it came to distinguishing the differences between Aztlan
aesthetics and embodied aesthetics? I understand that for men, Aztlan is an
imaginary place, and for woman Aztlan is their body. However, I’d like to know the
symbolic reasoning behind this manifestation.
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