Week 4: Denver Art Museum Panel

The Denver Art Museum panel, moderated by Latin American art curator Jorge Rivas Pérez, was able to delve deeper into the realm of Mexican Modernism. The panel included artists Pablo Helguera, Damian Ortega, and Professor Alma Lopez, who were all able to address three main themes: reclamation and appropriation, public art as activism, and layered identities. Each artist discussed the progression of their art, what elements served as inspiration during their art-making process, and how they have reflected historical moments as well as personal experiences in their work. 

Instituto de la Telenovela, 2002

The first artist, Pablo Helguera, addressed his struggles with his personal identity as an artist since he initially felt as though he had an expectation to create what people presumed to be Mexican art. From this, Pablo was able to reflect through group exhibitions and other works that there isn't a singular Mexican identity. Pablo also introduced his work, Instituto de la Telenovela, which sought to trace the impact of Latin American soap operas on the rest of the world. This installation included the creation of domestic spaces, data displays, and a functioning resource center. Another work of Pablo's that I found really interesting was his recreation of his uncle's Silent Sam poster. Pablo was able to create a black and white version with the words "silence is compliance," which he later printed and posted around NYC during the peak of the BLM protests.

Controller of the Universe, 2007

The second artist, Damian Ortega, initially started as a political cartoonist and later delved into painting, sculptures, and installations. One of the projects he highlighted was a painting project he initiated during the pandemic. He took photocopies from original mural fragments and created reproductions of them. It was inspiring to hear him talk about how it took him months to truly understand the material that he was working with. This illustrated how artists are still constantly learning through experimentation. I also enjoyed hearing Damian talk about how the turbulence of 2020 gave him the opportunity to reinvent his work. He was able to take his time with his art production, which allowed him to enjoy the art-making process even more.

Our Lady, 1999

I enjoyed learning more about how Professor Alma Lopez's work has reflected her identity as a queer, Chicanx, feminist, activist artist. Her story regarding her experiences viewing the Las dos Fridas painting at 13-years old was so interesting. Professor Lopez mentioned how this was the first time she had seen two women with different identities (European and Indigenous) so close together in a public space. During the Q&A portion of the panel, I appreciated Professor Lopez's discussion regarding whether her work is reflective of political themes. She had mentioned that when she creates work, she isn't necessarily thinking about a particular political message or her audience, but is rather reflecting on the conversations she had or the literature she was reading. She is able to openly embrace her involvement in this current movement as a feminist, Chicana, queer activist.