This week's reading titled Chicano Art: Looking Backward by Shifra M. Goldman was a direct critique of the both the Chicano Art Movements exhibitions being Caifas and Murals of Aztlan. Goldman states in her critique a very narrowly tailored comment aimed at chicano artist's merit involved in the exhibits. She states, “should Chicano artists, at the cost of economic security and possible artistic recognition, continue to express themselves artistically around the same matrix of social change and community service that brought their movement to existence”. (p. 436) Goldman was implying that since some artist that were seen in these exhibits expressing themselves in art forms outside of the deem able realm of what is considered Chicano Art and were doing so at the cost of being recognized and acknowledged. Goldman's critique lead us to understand that her beliefs are that the entire construction and embodiment of Chicano art has always been and should continue to be surrounding social change and community service.
Chicana artist, Judith Hernandez rebuttals back in her own response that if that were to be the case, why isn't Chicano art displayed across Los Angeles Museums? On top of the fact that present artists have done enough work and can continue to achieve greatness based on their own merit and their own ways of expression that do not necessarily have to be along the lines of community service and social change. Doing so does not make an artist less of a Chicana/o, and their work does not define their identity. Hernandez, along with other artist, believes that this form of gate-keeping is impedes the advancement of Chicano art and not what they claim. Chicano art takes many shapes and forms and artist work does not lessen their identity any less if they choose to not center or channel mediums of social change in their work. Chicano Art is evolving and will continue to in many forms that should not be dictated or gate kept in order to be deemed "Chicano enough".
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