¡Printing the Revolution! Exhibition Review

    Featuring 119 works from the Smithsonian American Art Museum (SAAM) top collection of Latinz and Chicanx Art “¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now,” is said to be a landmark exhibition. In 1995 the Museum received a significant gift from scholar Tomas Ybarra-Frausto, acting as the catalyst needed for increasing the holdings of Chicanx artworks within the museum. Ever since then then the museum has built on of the largest collections in Latinx and Chicanx graphics on the East coast. This was all thanks to the major donations and aspiring acquisition program from the museum. 

     “¡Printing the Revolution!” exhibition was led by Dr. E Carmen Ramos, a curator of Latinx Art and received help from curatorial assistant of Latinx Art, Claudia Zapata. This collection presents both historical civil right era prints and contemporary works, side by side for the first time. The panelist that appeared during the exhibitions online preview were artists Juan Fuentes, Ester Hernandez, and Zeke Peña who discussed the importance of Chicanx art to sparking conversation for social justice work and its role in the American experience. The collections present artist using vibrant colorful prints, graphics, augmented reality(AR) and exhibits to reflect the larger social issues of their time. 

    The artists use their art to discuss the political climate of their time through the social cause that are included, such as anti-war, civil rights, feminist, LGBTQ+ Rights and more. Oree Originol’s Justice for our Lives is an on-going artwork inspired by the Black Lives Matter Movement. Using photographs to capture the political justice issues in his time, Originol’s artwork is created from black-and-white portrait photos of the men, women, and children who were lost due to police brutality. He makes use of public spaces so a passerby can see this large dynamic installation of a piece that will continue to grow until the deaths by law enforcement altercations end. This piece is a powerful critique of contemporary racial and social issues because it will only end in the violence does first. 

     American experience of art and history is captured through the lenses of previously marginalized group of artists just as the narratives of LGBTQ+ individuals, women, and people of color. Though the tools used to address things have changed the need to spread the conversation has not. This exhibition perfectly demonstrates social concern, shifts in Chicano and the ways in which the public continues to be engaged.