Week 8: Chicano Art

In Chicano Art: Looking Backward, Shifra M. Goldman discusses the evolution of Chicano art and artists as they enter more mainstream settings. By analyzing art exhibitions Califas and Murals of Aztlan, Goldman is able to comment on how they fail to represent the true nature of Chicano art. In reviewing the exhibitions, she notes that both made “no attempt to present a chronology of the movement or of the artists” (437). By not doing so, they failed to demonstrate the progression of the Chicano movement and instead focused on showcasing older Chicano artists. In addition, Goldman observes how artworks become more about profit when artists enter mainstream establishments. This, in the eyes of Goldman, breaks away from the traditional settings of Chicano Art.

    When reviewing Murals of Aztlan, I found it very interesting how she mentioned the importance of space when creating art. For street murals, specifically, she states that the art must be placed in areas that are accessible for the intended communities. Beyond that, the subject matters covered within the art should be meaningful to the residents of the environments where it is placed.

    Judithe Elena Hernández De Neikrug, a participant in the Murals of Aztlan exhibit, shares her response to Goldman’s exhibition review. She expresses that naturally, it makes sense for Chicano art to mature and change with time. She also believes that she has a right to financial rewards for her work because of the efforts that were put into getting that far in her career. While she receives these benefits, she explains how it is unfair for Goldman to discredit her loyalty to the Chicano movement. She, and many other artists, still find ways to pay tribute to the cause.

   While I am not an artist, I found both perspectives on these matters very insightful as they showcase different approaches to Chicano art.