Reflection

Looking back on these past ten weeks, I cannot believe how much I have learned by taking this class. On the first day of class, Professor Lopez made me realize that I could recall more white male artist than female women of color artist. In today's class I learned how to use a stencil. This shows the variety of topics we covered in each class; the list goes on and on.  I am glad of all the artistic skills I gained this quarter but I wish I could continue to practice to draw all year long.

There are some classes I find dreadful and have a hard time paying attention in. But this class was actually the opposite. I looked forward to 2PM every Tuesday and Thursday this quarter because I knew I was going to walk into a class where I would learn about something interesting and relatable. I would definitely try to take another class with Professor Lopez. I would even ask my friends to enroll with me.

An assignemt I was surprised to learn about was on how do draw a self portrait. All throughout elementary school, I was taught how to draw self portraits but I always felt like my drawing looked odd. Either the nose came out too big or the ears were not symmetrical to each other. But in Professor Lopez' class, I learned how to create a grid and use it as an outline. This made it easier to draw intricate body parts such as an eye or a nose.

I am walking away from this class knowing more than 20 Chicana artists. On the first day of class I only knew one- Frida Kahlo. Now I figure that she is not even a Chicana.

City and Cosmos: The Arts of Tenochtitlan at LACMA Extra Credit

Figure 1

        On May 11, 2018, I attended the City and Cosmos: The Arts of Tenochtitlan exhibition at LACMA. I wanted to see what the big hype was about and so I decided to carpool with my classmates to check out the art. I was super excited when I entered the museum, but I left with mixed feelings. It is fascinating to see how Tenochtitlan is 1,931.8 miles away, yet we get to join the experience here in LA. On the other hand, I find it devastating to know that the artifacts present in LACMA belong to Tenochtitlan, not the rich owners who donated them to LACMA. All those artifacts are taken from Mexico City, Mexico and used to make profit in the U.S.

Figure 2

       I was most interested to attend this exhibition because I visited the Technochtitlan pyramids as a little girl. Ever since this visit, I became empowered by my Indigenous roots and take every chance to learn about Mexican history. There is so much to learn; one LACMA exhibition does not fully demonstrate the beautiful art Mexico has to offer.  

Figure 3

       When looking at the art, I would say that for the most part, the artifacts are still in good standing.  After about 600 years since the beginning of the Aztec empire, the structure, color, shape, and size continues to look intact. I found it interesting how this exhibition features a variety of artifacts like pieces of the pyramids (Figure 1), decorations (Figure 2), and jewelry (Figure 3).  

Figure 4

      I got the chills when I looked at Figure 4 because these are the exact earrings Aztec worriers wore. They are so detailed and luxurious. Today, one may look at Figure 4 and think "How are those even earrings?" It is not often that we see people wearing earrings like the ones in Figure 4. This exemplifies how colonization not only destroyed land, structures, beliefs, and traditions, it also had a big impact on the way the Indigenous dressed.

Presentation 2: Ana Mendieta

    This week, I was able to learn about more inspiring Chicana artists. My classmate's presentations were very informative and eye-opening. A presentation that left me at awe was by Evelyn Castillo, who presented on Ana Mendieta. I noticed that my jaw was dropped the whole time she was presenting, because of how dark and shocking Ana Mendieta's art was to me. I was so attentive to the content that I even felt sorrow for the artist. An image that struck out to me from this presentation was called Untitled (Rape Scene).

    Although Ana Mendieta's art can be graphic for some people, I looked at it through an artistic perspective. This allowed me to analyze each image and think about the mood, feelings, theme, and ideas they were each trying to convey. Her art piece called Untitled (Rape Scene), was most impactful  to me because of the situation in which Ana Mendieta was in. She seemed so devastated and torn apart. The fact that she stayed in that same position for about an hour shows her dedication for her art. This piece illustrates the tragedy behind abuse and rape. Most people do not like to speak about it, let alone create art about. On the other, Ana Mendieta thought it was important to create this piece so that more people can be aware that abuse and rape are not okay!

Presentation: Barbara Carrasco

      I am amazed by all the presentations I saw last week. From the explanations to the art and artist itself, I gained an insight of the Chicana art community. What struck out the most to me was the fact that all of my classmates who presented were able to relate to the artist in some way. They spoke upon how they each had similar experiences and can relate to their skills.

      A presentation that particularly struck out to me was by my peer Amy Perez. I enjoyed the detail explanation about the talented artist, Barbara Carrasco. I can relate to her in the way that I also truly care about my beautiful LA. She represents her passion for LA history through her 43 panel mural called "L.A. History: A Mexican Perspective, 1981". This mural is jaw dropping! The fact that it is made up of 43 panels and organized in a chronological order to represent LA history is empowering. I enjoyed knowing that I can see a landscape full of events I can relate to. I see myself as the image of the lady to the far left. I find myself constantly thinking about history and questioning how life would be if history was changed around. 

Judith F. Baca- Tres Generaciones, 1973

In Tres Generacinoes, 1973 by Judith F. Baca, there is something different about each figure, yet they are all similar in a way. They each represent a different generation, such that the grandmother is much older and her look seems more wiser, the mother is still young and demonstrates a worried expression, and Judith F. Baca is a child who is changing from a child to a woman. The clothing that is worn by each of these figures is also a representation of the three generations. For example the grandmother wears a simple conservative dress, the mother wears a more colorful dress, and Judith F. Baca wears fancy colorful dresses with detailed ruffles and embroidered flowers. Although each figure is different, they are all connected together by the style of the drawing. It is as if a flowing river drifts them all apart, while keeping them tied under the same current.

Growing up, I always had a close relationship to my grandmother and mother. I noticed how generation after generation we all shared similar characteristics even though we each grew up in a different time and environment. Just like Judith F. Baca, I too believe that my abuelita had a stronger tie to indigenous roots. Just by looking at her facial features, I was able to see how her eyes, eyebrows, nose, and cheek structure were all unique.

Carmen Lomas Garza by Constance Cortez- Earache Treatment

     As I read through Carmen Lomas Garza by Constance Cortez, I feel an instant familial connection to the book. Many of her experiences mentioned are relatable and it even makes me feel as if I am a member of her family. It brings to mind the many childhood memories I have growing up in a Mexican household. A picture I find fascinating and can deeply relate to is Earache Treatment, 1989. I got the goose bumps as soon as I began reading Carmen Lomas Garza’s reason behind this drawing because those were my exact feelings and reactions as a 5 year old when I first saw fire in my father’s ear. She mentions how this form of remedy is used to help get rid of water trapped in her father’s ear.

 

     Although my family uses this remedy to eliminate an earache and even built up earwax, it still resonates to that of Carmen Lomas Garza’s experience. Before viewing the Earache Treatment, 1989, I though that only my family practiced this crazy remedy. But after hearing from Carmen Lomas Garza and numerous of my classmates, I now know that it is a cultural remedy that many people rely on. I have been through this treatment a couple of times and do believe that it does its magic. Overall, this drawing makes me remember the cracking noise the burning paper would make as it got closer to my ear. I also clearly remember the smell that was left behind on my hair and skin.

Yolanda M. Lopez: Who's the Illegal Alien, Pilgrim?

       

   After reading the Introduction, Chapter 1, and Chapter 2, the reader is informed of the experiences that influenced Yolanda M. Lopez to create art around the Chicanx culture. An art piece that mostly struck out to me was Who’s the Illegal Alien, Pilgrim, 1978. This art piece ridicules U.S. politics and their definition of an illegal alien. It was created for a campaign that was defending immigrant rights in San Diego. Many Chicanx community members can relate to “the angry indigenous man in the poster because he inspires resistance to imperialism and racism, not acquiescence” (Davalos, 56). Resistance is important because it allows Chicanx community members to feel welcome and accepted in a particular space. 

   I was introduced to Who’s the Illegal Alien, Pilgrim in high school, but never knew the artist or what the meaning behind the image signified. Today, I am fascinated to know who the artist is and what this drawing represents. My connection to this picture has grown now that I understand that the terms foreign, illegal, and alien are used to dehumanize one who is not of pilgrim decent. 

   All throughout my primary and secondary education, I was taught that pilgrims were the first to settle in the U.S. I questioned this statement by asking myself, "If pilgrims were the first to settle in the U.S. then that means that I am a descendant of them. But then why don't I look like them? And why do I speak Spanish?" It was not until high school where I learned about the difference between a Pilgrim, Native American, and the Indigenous. I now know that I am of Indigenous decent, not pilgrim decent. Being able to understand these differences has allowed me to connect to the image shown. The next time someone refers to me as a foreigner, illegal, or alien because of my ethnicity, I can pull this image out and ask them who was first to walk on American land?

CARA Exhibition and Alicia Gaspar de Alba

              After reading Chapter 3 of “Out of the House, the Halo, and the Whore’s Mask: The Mirror of Malinchismo” by Alicia Gaspar de Alba, I was able to understand how the CARA exhibition was so significant to the Chicano Movement. It allowed for Chicano identity, culture, and beliefs to finally be expressed through the visual arts. It gave a voice to those who had been oppressed by the white and powerful and was a way to create resistance. What I find empowering about this exhibition was that it was one of the first exhibitions to feature the works of over 100 Chicana/o artist throughout the U.S. This is a major change seen within our people because it created an artistic space that allowed for conversations about citizenship, community, and identity. It brought awareness to these artistic spaces and inspired many to be advocates for their communities. 

Although the CARA exhibition showcased Chicana/o experiences, it yet lacked female representation. Gaspar de Alba mentions how the female to male ratio was not equally represented throughout the CARA exhibitions. For example, “Of the fifty-four mural images projected, only seven were done exclusively by women or women’s collectives.” This quote puts into perspective the inequalities Chicana women faced, not only as females, but as people of color. 

Once Alicia Gaspar de Alba came to our class to present on her story and about her relation to the CARA exhibition, I was able to connect the reading with her presentation. It was empowering to see all the struggles she faced and the ways she has overcome them through art. What I believe was the highlight of the presentation was when Alicia Gaspar de Alba made us students analyze the question regarding if one identifies themselves as a “feminist”.  It was interesting to see my classmates responses, some stating that they are "feminist". Those who do not identify as "feminist" still support the movement. 

“Chicana Sexuality and Gender: Cultural Refiguring in Literature, Oral History and Art”

In Chapter 4 and 5, Blake emphasizes the importance of storytelling by using mediums such as art and writing to be able to portray one’s experience. It is through that of storytelling that one can recall the history of our people and also the history that we will one day leave behind. Blake argues for storytelling by detailing, “…the beauty of storytelling is ever present…the pleasurable qualities of the oral narratives contribute to and expand on an understanding of the lived reality” (188, Blake). In this quote, Blake reveals how stories and testimonies are essential in order to be able to determine the numerous issues that affect the Mexican American and Chicanx community. Through storytelling one can empower and be empowered at the same time, which is necessary in creating resistance and refiguring the history that oppresses women.

It is through that of storytelling that I am able to understand where and how my parents, grandparents, and great-grandparents grew up, thus gaining a full understanding of who I am.  I find it fascinating how the traditions, values, and beliefs that my great-grandparents grew up with are still present in my day to day life. Through storytelling I can see how after so many generations, there is still a link that ties all of us together, and that is that of sharing similar narratives. 

Presentation: Julie Zarate

Julie Zarate was born in 1970 in Houston, Texas, where she continues to reside in and serve her community. Her interest in the arts started as a young child, and learned to paint before she "could even right her name". Her passion flourished in high school, and so to further expand her knowledge in the arts, she attended Glassell School of Art at the Museum of Fine Arts Houston. 

What is interesting about Julie Zarate is that a majority of her art is focused on faces. Her various genres and styles of art include acrylic, oils, drawings, and assemblages. These faces are shaped by pop culture and the empowerment of women. Music is another of Julie Zarate's inspirations. Most of her work is titled after songs that resonate to her. I feel like I can deeply relate to  this because music allows me to express myself like no other. 

Julie Zarate is one of the founders of the art group called Las Chingonas. This group works to inspire other members of the community and also showcase the diversity within Houston's visual arts. Julie Zarate's work is exhibited in galleries through Los Angles and Houston. Although she is mainly known throughout her community, I believe that her art can one day empower the world and fascinate many like it fascinates me.  

Barba,Nataly (Nataly)

Hello classmates! My name is Nataly Barba. You can call me "Nataly" or "Nat" is also fine with me. My preferred pronouns are she/her/hers. I am a first generation Chicana, born and raised in Los Angeles. I am currently a 2nd year working on a Psychology Major and Chicana/o Studies minor. I am very passionate about the arts, dance and theater in particular, so I feel like this class will allow me to see art through a new lens. I can't wait to learn more about how Chicana art and artist impact our communities today. 

Folklorico performance at the Redondo Beach Performing Arts Center 

Turning over to the readings by Linda Nochlin and Sybil Venegas, I did not find it surprising that white men are the reason behind the question, "Why have there been no great Women Artist?" It is not surprising to me because white men have always been known as having the most privilege. They were the ones to afford an education, so thus were seen as the intellectual ones. Women on the other hand were not always granted an education. It was even less likely to see them pick up a paint brush. Also, not surprising is that those few women who are know as great artist have a strong connection to a male artist. So this leads us back to the inequality that white men have power over art. 

What does surprise me is how femininity impacts ones view on art. Just because an art piece is done by a female does not mean that it is more feminine than an art piece done by a male. Or just because an art piece looks feminine does not mean that it's weak. I question what it is about the art piece that makes it look feminine? Is it the colors? The texture? The feelings conveyed through the piece? I bet if I was to randomly show someone an art piece and then ask if it was painted by a male or female, that person would not be able to tell the difference. 

Although women are not treated equally to men within the visual arts, that is not to say that Chicana women have the same disadvantages as white women. Chicana women have yet more of a disadvantage all because of the color of their skin. This is why classes like Chicana Art and Artist are so important because it brings awareness to such injustices.