Hello, my name is Charleen Molina I am a fourth-year sociology major with a minor in Chicanx studies, and I prefer to go by the pronouns she, her, hers. I was intrigued by this course as I have not taken many courses as a Chicanx minor relating to art, during the fall quarter I took a course on Chicanx force in play and film industries and was hooked on learning more about other forms/ expressions of Chicanx art. Many of my research interests revolve around the effects of media on the first-gen Latinx body image, so I am excited to see how Chicana art may reflect these topics.
A portion of the reading by Carmen Ramos was the revolutionary mindset behind early Chicanx art. Specifically looking at page 41 image 13 Ester Hernandez piece of Aztlan is an inspiring reclamation of stolen land, the image that is presented onto Mexican immigrants being marginalized aliens is broken down through artworks of Aztlan as it illustrates them as the rightful descendants of such stolen land.
Another art piece that held the same revolutionary aura as Hernandez's piece is the Libertad De Expression by Adolfo Mexico this piece alike the first one calls out the idealized values Americans hold over land, liberty, and freedom. This piece calls out the celebrations of freedom such as July 4 and which Americans idealize as freedom for all, yet this painting. Showcasing a young Chicanx activist is being gagged by a padlock with Made In the USA engraved at the bottom. This showcased the silencing of activism that young Chicanx faced in trying to uncover the true oppressive nature of the Mexican government.
It is great to see that even during times of such oppression and silencing Chicanx art was a form of expression that not only educated La Raza on the problems they faced but also was a form of creative and emotional release
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