Saturday, January 9, 2021

Claudia Zapata Question and Answer

    One might wonder if digitizing art devalues the work itself, as if the use of modern technology strips the essence (aesthetic, thematic, or practical skill) of a particular piece. Rupert García’s reluctance to use digital printmaking is an example of such a notion, as he is quoted on page 132, under the assumption that the exploration of digital media would “contaminate” the purity of his work as a fine artist. Though the question is subjective, one could answer that the utilization of online mediums is a powerful way of re-imagining modes of creative expression in a way that uplifts political movements by reaching a larger audience and is a new method of engaging with viewers.
    As Zapata describes on page 131, "Chicanx artists have actively participated in each technological paradigm shift,” showing that the spirit of decolonization, representation, and social consciousness is an ever-adaptive movement that spans across many different platforms. Arguably, all eras of Chicanx artistry have this goal in common: to create, discover, and utilize all avenues of expression to create lasting change in the art world and beyond. Much like the tangible, in-person communities that created and disseminated wood-block prints made by hand, online communities now have the same experience, yet are not limited by physical proximity to each other and their viewers. In essence, the value of the artist’s message can, at times, be increased through larger platforms and easier modes of access. Additionally, this adaptive characteristic of Chicanx art can be used to the advantage of political activists, and has invented new methods of protest, such as occupying and crashing government websites.
Papel Picado by Daniel González

    The use of modern artistic media to represent traditional holidays and beliefs in the Latinx community is a symbol of classic art forms being re-imagined by technology and contemporary generations. Daniel González’s papel picado both honors Día de los Muertos and notes the Chicano civil rights movement that led to the acceptance of the holiday in the United States. This double meaning, one that simply represents the holiday and comments on the history of the tradition is only possible at this crucial stage in art: one that is in transition between old, traditional techniques and new technologies, just as it is in transition between older generations and new. The shift in production flows in tandem with modern culture and consciousness, alike.

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