WEEK 10

 One concept that I learned in this course that I am most thankful for was learning about the power of images and symbols. However, the image of the Virgin Mary was the one that stood out to me the most. Growing up Christian, I was never used to seeing images of her unless it was through my Catholic friends, and even then at church we were taught the image was of the devil. I understand now that when churches consider anything “of the devil,” it is simply because it does not fit their narrative or must be an uncomfortable truth. Nevertheless, I have always had a profound respect for the image and the person Mary was. Her story and legacy of holiness are exemplary to the devout adherent of any faith, but her image may also be used to subjugate women as well. The concept of how religion can be used to control people and oppress any “othered” group came through my understanding of European colonization (and its’ afterlives) and Islam. In my honest opinion, Islam is more of an accepting and revolutionary instituion/faith than their Christian counterparts considering the Quran devotes a whole chapter to the mother of Jesus (Isa) and the religion is largely open to interpretation, hence ultra-conservative and even liberal factions of the religion spread across the world. I fell in love with the Virgin Mary after reading about how Our Lady by Professor Alma Lopez was created and why. The image, even before I read about its complexity, brought a smile to my face considering it obviously angered conservative Catholics who didn’t even take time to understand the importance of the work, and quite possibly never will. I admire Professor Lopez for having the guts to create such a piece. I also think it is important to note that art isn’t something one wakes up one morning and decide to do. I have learned that an artist needs to have both an intellectual and (almost) spiritual connection to their work in order for it to be beautiful art. 

WEEK 10

 One concept that I learned in this course that I am most thankful for was learning about the power of images and symbols. However, the image of the Virgin Mary was the one that stood out to me the most. Growing up Christian, I was never used to seeing images of her unless it was through my Catholic friends, and even then at church we were taught the image was of the devil. I understand now that when churches consider anything “of the devil,” it is simply because it does not fit their narrative or must be an uncomfortable truth. Nevertheless, I have always had a profound respect for the image and the person Mary was. Her story and legacy of holiness are exemplary to the devout adherent of any faith, but her image may also be used to subjugate women as well. The concept of how religion can be used to control people and oppress any “othered” group came through my understanding of European colonization (and its’ afterlives) and Islam. In my honest opinion, Islam is more of an accepting and revolutionary instituion/faith than their Christian counterparts considering the Quran devotes a whole chapter to the mother of Jesus (Isa) and the religion is largely open to interpretation, hence ultra-conservative and even liberal factions of the religion spread across the world. 

I fell in love with the Virgin Mary after reading about how Our Lady by Professor Alma Lopez was created and why. The image, even before I read about its complexity, brought a smile to my face considering it obviously angered conservative Catholics who didn’t even take time to understand the importance of the work, and quite possibly never will. I admire Professor Lopez for having the guts to create such a piece. I also think it is important to note that art isn’t something one wakes up one morning and decide to do. I have learned that an artist needs to have both an intellectual and (almost) spiritual connection to their work in order for it to be beautiful art. 

WEEK 9 - CHICANX FUTURISM

 In the ChicanoFuturism reading we were assigned, I was introduced to the concept of how futurism collides with ethnic identities. This is because after I read about Marion Martinez, Chicano Futurism, and took a look at the art, I looked at other works in this particular futuristic art style. It is a cultural and artistic syncretism that allows for the Chicanx artist to express themselves through not only this particular art form, but with these unusual technological materials which demonstrate the permanence/relevance of the Chicanx identity. The way I thought of it was how when we look back at art history we are able to put art movements into boxes and styles, whereas in the contemporary we are able to blend/fuse the past to create art forms that better express what we’re trying to prove.

Art is very subjective, and as it has been previously covered in our class reading, the evolutions of art mediums further enhance how an idea can be shared. For example, while every artist from the CyberArte exhibit created art through digital means, Marion Martinez made art use using computer hardware as opposed to software. One might ask themselves what the difference might be, and the difference is that by using materials of our technologically advanced present to portray images from the past, we are in essence allowing for a particular image to evolve into and stay in our contemporary. The image of the Virgen is a timeless image of Mexican and Chicanx pride, and as we learn more about her permanence, we are able to note how her image transcends boundaries and borders across the Americas. Martinez further proves her permanence by portraying her with computer hardware. This is important considering that when she was alive and even in her apparition, this technology did not yet exist, but Martinez was able to revive her in our current era. This is what I understood from the reading, that Chicanx Futurism is about bring the past into the contemporary in a futuristic sense. 

BORDER ARTE - WEEK 8

 I chose to read up on Gloria Anzalduas’ Border Arte because I always look forward to reading anything from her. Anzaldua always does well with putting things in perspective and appealing to the readers experiences as well. In this reading, she is walking around a museum, as many of us have, but she speaks on a particular feeling of contemplation. She contemplates on what it means to be walking in a museum with artifacts of her ancestors, but also the fact that there are awe-struck white visitors who are unaware of the Aztecs' continued history. I will never forget walking around the Autry Museum, looking at the La Raza newspaper/Chicanx Movement exhibit, and being followed around by a white security guard. It was intimidating and disrespectful considering I have more of a connection and “ownership” over the space. Why did this man have to police my knowledge, I thought. Anzaldua also makes mention of a friend who indicated that in Guatemala City, a museum held traditional garb on display as if indigenous people didn’t exist or dress like that today. Upon my visit to Guatemala years back, I was amazed at how prevalent and populous the indigenous community was in Antigua. They were out on the streets working, in the swapmeet selling, and in the mountains tending to their lands. I say this because before my visit I mistakenly thought that indigenous people were up in the mountains, secluded. Anzaldua makes it clear that border art is at the crossroads of our indigenous pasts/non-US national heritage and our complicated relationships with the American identity. Nepantla is Nahuatl for an inbetween state, like the Chicanx identity itself. Her relationship with Aztec art is a relationship of bridging the gap between a disconnect and the desire/struggle to understand one's ancestral past and relationship with it. 

Week 7 - Mariconography

 I chose to write on this piece considering that everyone was writing on graffiti, which holds just as enough importance as my topic, but in its own respect. However, they are both similar in that the subvert conventional norms of what we supposedly consider art. Art, to me, transcends visual simulation and is more about saying something, or making a point. To graffiti is to challenge conventional art which is often expected to be formal and in a gallery. Graffiti can be plastered almost anywhere and is revolutionary in that not only can the work be subversive and controversial, but so is the medium and application itself. Nonetheless, I should add that this subversion is not as dangerous as it is to be openly gay, to create art with queer undertones, or to challenge heteronormativity through ones sole existence. In the lithograph 41 Maricones , the artist seeks to portray Mexico City's "homosexual underground" as a sight to mock. He draws effeminate figures with masculine traits as a means of ridiculing their identities and detestable even. There is a common misconception within the Chicanx/Latinx communities (or just people in general) that suggest that to be a Gay man is to be feminine, or that one must be masculine in order to be a man, which is obviously false. In my personal experience, I have met many feminine men and male friends who were very much heterosexual, but I have also met plenty of masculine men and male friends who were gay themselves. In Fig. 21.1, Joey Terrill stands with a "hard and foreboding" face in complete juxtaposition to earlier depictions of effeminate gay men.  He does this while also wearing a shirt that announces that he is indeed a maricon. He takes ownership of the once offensive term, and makes it one he can wear proudly and redefine. This reminds me of a rap group I like that wore bulletproof vests to their Coachella performances with slurs they wanted to take ownership of, or challenge. One of the openly gay members wore a vest that read F***OT, and another wore one with the N-word plastered on it. While other members did the same as well, these two were the ones that made the biggest impact on me. I admire mariconography because it doesn't care what our particular heteronormative and patriarchal society thinks, it subverts the norm and allows for these artists to express themselves with no self-imposed boundaries in sight. That is art. 

RASQUACHISMO

 Rasquachismo is the philosophy of creating art outside the realm of artistic conventional norms. In other words, it is making art in non-traditional ways through non-traditional means. When I think of Rasquachismo, I think of Gilberto “Magu” Lujan and the way he makes art with super bright colors and abstract designs. One piece that comes to mind is El Jaguar-man and El Pyramid Man where the viewer is left asking themselves what this piece even means. Upon further inspection, we are faced with Aztec imagery with the jaguar and the pyramid, but we are left to reckon with the use of such bright colors. It’s abstract in concept, but also in his use of colors chillantes. I personally have had no personal experiences with Rasquachismo, but can attest to the fact that I have felt or seen my work out of place, or outside of conventional norms. For example, I once gave a speech on Malcolm X, his relationship with Islam, and how his legacy influenced me to pursue Ethnic Studies (specifically, Chicanx Studies) to an audience of retired police, white senior citizens, and ultra-conservative WASPs. I won 1st place in the speech competition, but not without criticism after the speech. 

Week 5 Discussion Post

 As a Latino that grew up an evangelical Christian, I never knew much of the image except for the disrespectful and rude comments the “loving” church-member said about her. I make the distinction in my (Evangelical) Christianity because Catholics are Christians themselves, just a different denomination. It wasn’t until I was introduced to Chicanx Studies where I began to learn more about the Virgin of Guadalupe and her importance to the Chicanx Movement. However, before that my individual opinion was that Catholics aren't real Christians because they cared more about praying to the Virgen, than God himself. I believed (in my Agnostic mind) that if God was truly almighty or even cared about us, he didn’t need an intercessor. I still believe this to be true today considering that the requirements to be a Catholic are to be baptised as an infant against your free will, reluctantly attending catechism classes, and simply professing your association through jewelry and statues. However, upon further examination I have honestly begun to appreciate the rich history and significance of the Virgin, albeit a more historical appreciation than a religious one. I say this because to many who aren’t theologically or philosophically inclined, the Virgen is the only symbol of religious importance, above God him/herself. The Virgin symbolizes oppressive gender norms that expect women to be pious, submissive, and passive. Nonetheless, to some the Virgin symbolizes cultural heritage and female empowerment. Both fields can be argued about extensively, but after all, the Virgin herself, as a symbol, exists to be a reflection of any particular given values that one decides to impose. She is what we make of her.

Week 4 - Denver Art Museum

 I was able to attend the Denver Art Museum Panel where I was able to see actual artists from Latin America speak on their works and ideas alongside Professor Lopez. I enjoyed the panel because when I used to think of art and artists, I only envisioned it through a European or American lens. Even though I know art is universal, I sometimes find it hard to see past that. So when I saw these artists, I was happy to hear about their works. However, an artist that caught my attention was Damian Ortega. Although he showed us a couple of his works, I forgot to write them down, but as I looked through his artworks online, I admired his work Cosmic Thing. The work is a disassembled Volkswagen suspended in the air. I feel as if he is dissecting a commodity in order to prove how it is nothing more than just pieces of metal and man-made machinery. However, what I enjoyed most about the presentation was watching the artists talk about art. It might seem like something so trivial, but to hear the artist varying and similar perspectives on how they create art and the importance of art during this pandemic was the highlight of the event, in my opinion. Professor Lopez was the only Chicana artist amidst the group of men and I don’t know if it was just me, but they seemed intimidated by her. I wish there was a recording available, so I could look at the works shared and their explanations. 

Pablo Helguera's work Instituto de Telenovela was also an interesting piece considering the far-reaching influence of the Mexican soap-opera Los Ricos Tambien Lloran in Russia. It really makes you think about how art and entertainment is an international language. He also proved that art is interactive with his office space he made to “study” this phenomenon.

Week 2 Discussion Post (How does Digital Art remain Art?)

On the question of what defines art, we find ourselves making multiple abstractions that ultimately yield no concrete answer. However, often time when we think about what is art, we envision work by Old Master paintings. This is a misconception that somehow gatekeeps the true meaning of what art is, in all its abstractions. My question is, how does digital art (or art through digital means) remain art? In order to answer this question we must first recognize that Chicanx art "continue[s] the advocacy objectives of protesting injustice, improving education, cultural self-reflection, and solidarity with oppressed populations..." (Zapata, 130) I asked myself the same question considering what digital art implies, which is simply a shift in tools. Zapata makes it really clear that it is not the tools which make art impactful, but the message conveyed. This is the "cultural layer" Lev Manovich writes on (Zapata, 130) that Chicanx artists stay true to. Hence solidifying that art is not necessarily based on what materials are used, but what message is being conveyed. For example, Jacalyn Lopez Garcia better encapsulates this concept with her work with Glass Houses, where she leads the viewer through a guided tour of her personal history and journey through her three identities over time: Mexican, Mexican-American, and finally, Chicana. (Zapata, 136)This piece of art stood out to me because of how she used a relatively new medium and technology to artistically express herself through a new set of tools. However, a new medium does not warrant a complete erasure or avoidance of traditional imagery or topics. This is best exemplified by Gonzalez's Arte es Vida piece where he recreates/reimagines papel picado digitally (Zapata, 134). Digital art remains art because art is about how the artist interacts with their mediums, not just the mediums alone. 

Wiki Project: Diana L. Sanchez (IG: @La_Dianuchis)

Diana L. Sanchez is an artist based out of Lennox, CA. She was born Oct. 15, 1991 in Queretaro, Mexico and moved to California where she was 4 years old. She was inspired to create art by an exhibit at the LACMA, Phantom Sightings: Art after the Chicano Movement (2008). She went on to earn her AA-T in Studio Art from Santa Monica College and later obtained he BFA in Illustration from CSULB in 2019. As an artist she primarily works with acrylic and gouache. As she mentions in her website biography, she "specializ[es] in figurative work and whimsical illustrations that bring various characters to life." Her work has been displayed at the Pete and Susan Barrett Art Gallery at Santa Monica College and Gatov West Galley at CSULB.

Sueños

Date: May 2020

Dimensions: 18"x24"

Media: Acrylic on Panel

Personal work in which I explored the subject of dreams.

Abolish ICE I

Date: Jun 2020

Dimensions: 13"x13"

Media: Gouache on Paper

Abolish ICE II (Front) & (Back)

Date: Dec 2020

Dimensions: 6"x9"

Media: Gouache on Paper Envelope

Created this illustration for an upcoming group exhibition,

"Couriers of Hope," presented by Port City Creative Guild

Abolish ICE II (Front) & (Back)

Date: Dec 2020

Dimensions: 6"x9"

Media: Gouache on Paper Envelope

Created this illustration for an upcoming group exhibition,

"Couriers of Hope," presented by Port City Creative Guild

References

http://voyagela.com/interview/life-work-diana-l-sanchez/