Gutierrez, Kimberly (Week 10 reflection)

    This course has given me the opportunity to learn more about Chicana and Latina artists, working in all different forms of mediums. Additionally, I enjoyed the presentations as it was another great way to learn about new inspiring Chicana artists—I found them to be informative and enlightening. Prior to taking this class, I was not aware of many Chicana/Latina artists and the class, it definitely has allowed me to broaden my knowledge. As an art student who is studying photography, I was further unaware of other Chicana photographers such as Laura Aguilar, even though we did not get to learn much about her work, I was able to do research on her and learn more about her photographic series. Furthermore, an artist whose work I also enjoyed learning about was the work of Yolanda Lopez with her Virgen de Guadalupe series. Yolanda’s drawings were all beautiful to look at and thought it was compelling how she did portraits of her mother and grandmother that were in an uplifting, yet inspiring way. I also thought it was interesting how she used a different material than ordinary drawing paper. Yolanda used paper that is initially used for wrapping meat, which was a creative way. Another work that I absolutely loved was her ‘Walking Guadalupe,’ (1978) artwork in how she portrayed the Virgen de Guadalupe in such an elevating as well as uplifting manner. Although the work was perceived to be controversial, it received a lot of great recognition in regards to the meaning behind the painting. I am glad I was able to learn about her art practice as Yolanda Lopez’s work was all incredibly moving and enjoyed how many of her art pieces touched base with political and social issues. Ultimately, this was a great course and definitely gave me great exposure to many unique Chicana/Latina artists.

Gutierrez, Kimberly (Week 10)

    Among the amazing presentations that were presented by my fellow classmates, an artist that stood out to me was the presentation on Monica Aissa Martinez presented by Itzcally Hernandez. Monica’s work was quite striking, yet compelling to me in regards to her artistic practice and craft. I enjoy how she implements her love for anatomy into her work, it is unique and captivating. Additionally, I did find it interesting how Monica’s work has a spiritual aspect—it feels like a meditative process. As someone who loves spirituality, that is one of the few things that drew me to her work, it is further interesting how she combines science and art into one category. It also seems like she is removing and tearing down the barriers between the science and art world. I do not think I have ever come across a work such as Monica’s, her drawings of the human body have this poetic as well as raw component to it that is eye-catching. As I was doing more research on her, one of the things that stood out to me in reading about an interview was her passion in wanting to create engagement upon the well-being of individuals and how Martinez wants to help educate people of the human body through her work. Besides, I enjoy how she experiments with line, texture, and shape as many of her drawings do not seem to be overwhelming even though there is much so much detail to look at. Monica’s drawing of the human body is compelling to me in her use of vibrant colors as well as how everything tends to be connected or in a state of flow. Her works are a reminder that we are all one and divinely connected. Overall, I enjoy learning more about her artwork, her drawings were amazing to look at.

Gutierrez, Kimberly (week 9)

    Among the presentations, an artist that caught my attention was Sand one who was presented by Mara Higuera. Sand one’s work was compelling to me with her use of striking visuals—I enjoyed how her work has a feminist lens that speaks on women's empowerment. Not only that but I found it captivating how her work can be seen out in public and how it is for the community, bringing people together. Fortunately, a day after Mara did her presentation on Sand one and discussed her artistic practice, coincidently I stumbled upon one of her artworks near my hometown in South Gate. It definitely was a surreal experience to be able to see the work in person and loved how she drew the doll’s eyes with extended eyelashes. The artwork was on display behind what appears to be a clothing shop, overall, I thought the mural was incredible to look at. decided to do a bit more research on her and watched an interview where she expressed how she found the arts to serve as a tool for self-expression and how she has been involved with the arts since she was just sixteen years old. I find it amazing how Sand one was self-taught and turned to the arts whenever she felt lost or directionless but how drawing portraits gave her a sense of comfortability as well as purpose. I also find it cool that she has her own studio in downtown Los Angeles where people can stop by and shop some of her art pieces. Another artwork that really stood out to me was the portrait of a woman soldier—I agree with what Mara stated in her presentation in how it reminded her of Vanessa Guillen who passed away last year. The work was raw and moving in the sense that it was portrayed as a tribute to all the men and women who have fought for our country in honor of their service. Ultimately, I enjoyed learning about Sand One and hope I get to see more works of hers in the future.

 

Gutierrez, Kimberly (Week 8)

    An artist whose work I enjoyed learning about was the presentation on Brenda Barrios presented by Armando Perez. Brenda’s work is visually and creatively striking with her experimentation of bright vibrant colors. I thought it was moving when Armando was discussing the meaning behind Brenda’s range of tonalities in her artwork, mentioning that the vibrant colors remind her of her trips to Mexico. The poster that Brenda created for the covid vaccine was raw and moving to me in how she included many cultural backgrounds, ethnicities as well as highlighted the disability community—collectively showcasing all communities in an uplifting, yet elevating matter. As the pandemic has been quite challenging and difficult for a lot of people, I further find it tangibly moving how she created the poster to raise awareness for the covid-19 vaccine, reminding people of the importance of vaccination. I find it cool that the poster is currently on view in San Bernardino and people are able to look at the work in person. Although, I have not yet seen the work in person, however, I remember watching a behind a scenes video that Facebook posted on their Instagram page with a time-lapse of the poster being finished for the public to see. Another art piece that was compelling to me was her work of the farmworkers in which shows them working out in the fields despite the large fires that are prevalent within the image. With this body of work, Brenda is raising awareness of the injustices and obstacles farmworkers are encountering. I also enjoy how many of her art pieces highlight a lot of crucial social/political issues that may often not get talked about enough. The work she did for her mother in raising awareness for medical was also incredibly moving. All of Brenda’s work was overall really interesting as well as beautiful to look at.  

Gutierrez, Kimberly (Week 7: Claudia Zapata)

    Claudia Zapata’s essay on “Chicanx Graphics In the Digital Age,” was an interesting read in regards to highlighting the work of various inspiring Chicana artists using digital art to discuss social and political matters they are passionate about. In the reading, Claudia voices and reassures readers that even though, a lot of Chicana artists turned to digital art, for the most part, it certainly did not take away from works of murals as well as prints touching upon social/political events. Additionally, she mentions how the use of printmaking was ideally crucial and exceptional for activism, portraying an important role in shaping the Chicanx community. The essay further highlights that many Chicanx artists creating digital/graphic artwork is essential and can be a great way to spark public dialog and diversity within the public. Another important viewpoint that interested me and the author highlighted was that despite digital media being an alternative outlet for ‘political graphics,’ posters/prints are also crucial and needed for protests—both media forms rightfully stand strongly in the Chicanx community. There is no competition between which media form such as digital graphics and prints is better looked upon, they both have different components and are each perceived uniquely. In the essay, Claudia even mentions how the digital age, it can be a great additional factor to showcase art around the globe. She states how Barbara Carrasco who is an artist and activist as well as part of the Chicanx community, created a digital art piece titled “Pesticides,” that was devoted to the Public Art Fund that highlighted United Farm Workers surrounding the labor of farm workers. This body of work involves including animation and pixels, the work is really compelling and moving in how she experimented with forms of storytelling while still bringing awareness to the challenges and hardworking labor of farmworkers.

 

Gutierrez, Kimberly (Week 6 Xandra Ibarra)

    Xandra Ibarra is an artist who works in different mediums such as sculpture, photography, and video/performance art. One of the artworks that were interesting, yet striking to me was Xandra’s performance, “Training for Exhaustion,” in how she used specific headwear that transcends the same reality as a Cucaracha along with other additional runners who were a part of the performance with her that took place in Oakland, California. She is voicing the exhaustion and tiredness in regards to the performance. I also enjoyed looking at the various images she included where Xandra is posing in a different position; for some, she is experimenting with double exposure that has a ghostly uncanny aspect. As to Xandra’s experimentation with video, her work titled “Ya Estuvo,” made me think about what women endure in regards to labor further highlighting femininity. The clicking sounds from the heels as it is viewed in the video also remind me of the ongoing pressures that women may face on a daily basis with the pressure to act or look a certain way. Besides, I really enjoyed her installation component, it is interesting how the old vintage TVs are stacked on top of one another, displaying each individual subject on each screen with what appears to be broken glass in front of the TVs that acts as a form of protection. Another work that was compelling to me was her photography series titled “Inventory of Exhaustion,” in which it seems like Xandra is preserving the costumes/clothing to their original form in these plastic bags. The concept behind the work is extraordinary because these are not just costumes but dearly carry memories that feel quite nostalgic. Ultimately, I enjoyed looking through Xandra’s body of works, it was all incredibly interesting to look at and my question for her, is if there is a specific medium she enjoys more exploring in? 

Gutierrez, Kimberly ( Magdalena Suarez Frimkess Draft)

 Magdalena Suarez Frimkess born in 1929 is a Venezuelan artist who works in ceramics and is known for her sculpture-like cartoon characters and advertisement pieces. 

 

Early Life and Education

Magdalena Suarez Frimkess was born in Caracas, Venezuela in 1929. As a result of her mother’s passing, Magdalena was redirected to an orphanage center at the age of seven. Her father was not able to provide her with financial stability. She received her education at the School of the Plastic Arts during her teenage years where she found a passion for the arts. Magdalena then moved to Chile when she was eighteen years old and met her first partner who remains anonymous. After the birth of her two children, she then attended Catholic University Santiago, Chile to rediscover her love for sculpture as well as painting.

After Chile, she was offered a fellowship to the Clay Art Center in New York, NY where she met her husband Michael Frimkess who is also a ceramist and artist. They both then resided in Venice, California as they collaborate and work together in their studio.

 

Art

Suarez creates sculpture-like cartoon characters, vases, and mugs that often involve slogans and advertisements. One of her most famous works is of Popeye, Mickey and Minnie Mouse, and other Disney characters.

Suarez appropriates Aztec and Mayan imagery into her work of vessels.

She works with her husband, Michael Frimkess who have been working together since 1963. Magdalena glazes each pot as Michael works in throwing pottery traditionally. They have had exhibitions together like at The Hammer Museum and many more.

Magdalena will have an upcoming solo exhibition at LACMA in 2022.

 

 Exhibitions

·        At 84 years old, Magdalena had her first solo exhibition in 2013 that took place at South Willard, Los Angeles. The exhibition displayed a mixture of traditional pottery and cartoon and slogan body of works.

·        Magdalena Suarez Frimkess was part of a group exhibition in 2013 at the David Kordansky Gallery, Los Angeles with her husband Michael Frimkess and other artists. The title of the exhibition was named “Grapevine~.”

·        Magdalena had her second solo exhibition at the White Columns gallery located in New York titled “Project Room: Magdalena Suarez Frimkess.” The exhibition was current between March 4 – April 19 of 2014.

·        The Hammer Museum Made In L.A. 2014 exhibition features the work of Magdalena Suarez Frimkess and Michael Frimkess of their traditional vases titled, My Mother, My father, My Brother, and Me (2001), Venice Cana Vase (2001), and Throwing Standing-Up Teapot (1972). 

·        Magdalena’s The Frimkess Collection curated by The Nevica Project gallery features a collaboration with artist Michael Frimkess showcasing sculpture-like cartoon characters and vases. It is a body of work that they have developed over the past years of working together.

·        Magdalena Suarez Frimkess will be having an upcoming exhibition at the Los Angeles County Museum of Art (LACMA) in 2022. Her work is a part of the LACMA collections.

·        Magdalena Suarez Frimkess has had two solo exhibitions at Kaufmann Repetto, Milan. In 2016, she exhibited works of her sculptural cartoon characters. The following year in 2017, Suarez exhibited traditional pottery work with slogans and cartoon characters. 

 

References

1.    ^ David Kordansky Gallery. (2013) Grapevine ~ curated by Ricky Swallow, July 13-August 17, 2013. Los Angeles, CA. https://www.davidkordanskygallery.com/exhibitions/grapevine

2.    ^ Repetto, Kaufmann. (2020) magdalena suarez frimkess: opening 7^th, 6pm. Kaufmann Repetto. New York. https://dailyartfair.com/events/download_press_release/7268

3.    ^ Repetto, Kaufman. (2020) a conversation with magdalena suarez frimkess. Kaufmann Repetto. New York. https://kaufmannrepetto.viewingrooms.com/viewing-room/5-a-conversation-with-magdalena-suarez-frimkess/ 

4.  ^ South Willard. (2013) Magdalena Suarez Frimkess: August 24 through September 20, 2013, Opening Reception Saturday: August 24, 4-6pm. South Willard Press. 2021. http://www.southwillard.com/collections/shop-exhibit/magdalena-suarez-frimkess/

5.     ^ Swallow R. (September 17, 2019) Magdalena Suarez Frimkess. South Willard Press.

6.   ^ The Hammer Museum. (2014) Made In L.A. Magdalena Suarez Frimkess & Michael Frimkess. The Hammer Museum. Los Angeles, CA. 2021. https://hammer.ucla.edu/made-in-la-2014/magdalena-suarez-frimkess-michael-frimkess 

7.    ^ The Nevica Project. (2021) Magdalena Suarez Frimkess & Michael Frimkess. The Nevica Project. 2021. https://www.thenevicaproject.com/magdalena-suarez-frimkess-and-michael-frimkess  

8.    ^ White Columns. (2014) Project Room: Magdalena Suarez Frimkess, March 4-April 19, 2014. New York, NY. https://whitecolumns.org/exhibitions/magdalena-suarez-frimkess/#press-release

 

 

Further reading

·        Finkel J. (2014). Biennial’s Bright Young Things, Ages 77 and 84. The New York Times, New York, NY.

·        Holte Ned M. (2020). Condorito Has Answers for Everything: Magdalena Suarez Frimkess. Mousse Magazine. Milan, Italy.

·        Swallow R. (2019). Magdalena Suarez Frimkess. South Willard Press. Los Angeles, CA. ISBN-10-1942884516.

 

External links

·        http://magdalenafrimkess.blogspot.com/

·         https://hammer.ucla.edu/made-in-la-2014/magdalena-suarez-frimkess-michael-frimkess

Gutierrez, Kimberly (Week 5 Carmen Lomas Garza)

    In the book “Carmen Lomas Garza,” Constance Cortez discusses Garza’s work in which she explores past histories that touches on the cultural, yet ancestral/familial side. Carmen Lomas Garza’s Hammerhead Shark on Padre Island (1987) is one of the few artworks that captured my interest in regards to the meaning and story behind this art piece. In the artwork, the environment takes place in a beach sunny setting with a group of people passing by the deceased shark as it was captured by a fisherman. In the image, emotions of curiosity and discomfort are evident as the trail of blood traces back from the water. People form a small crowd near the shark looking quite concerned but seemingly amazed by it. The author discusses how Garza did experience a situation like this when she was just a small child, being awfully intimidated by the shark knowing that they are dangerous. It is further interesting because Cortez highlights how Garza implements life into this painting as these kinds of circumstances happen but this image is also a memory that she encountered as a kid. Besides, Cortez mentions that Garza’s Hammerhead Shark on Padre Island is ideally a great reminder to take chances and risks because without taking initiative, our goals are not achieved. She even highlights that with every dream, there is a risk to take which is deeply vital. The contrast between Garza’s artwork is striking in the sense that there are multiple ways the image can be perceived or remind audiences of. With Garza’s art piece, I see a community coming together where people are bonding and discussing what they see, yet are curious with the fisherman’s capture of the shark, while others seem to be unbothered or not amazed at what they see and perhaps are unaware of the deceased shark laying on the sand. The people within the image, make me think of how these are individuals who are mothers, fathers, sisters, and brothers, and so on—they all have a story and purpose.

Gutierrez, Kimberly (Week 4)

     Rasquachismo indicates undervaluing or looking down upon a status whether that may be through an object or an individual. Thus, it all is looked at through a lens of disvalue. As in the reading, it discusses how the term rasquachismo can be viewed as one’s “taste.” Besides, it made me think of how sometimes cities reconstruct certain parts of neighborhoods to make them appear more aesthetically pleasing to the public. Not only that but it also makes me think of the buildings and restaurants that hold a lot of great cultural history being demolished to make room for modern-looking buildings/architecture. In my community, there is a historic movie theater that has been around since the 1920s, and are considering completely demolishing the building despite its value and history to the community. The thought saddens me because instead of city council officials reopening the theater to its original function motives, they have intentions in deconstructing the building to serve as a different purpose. Ideally, with city council officials coming to a decision to remove these historic buildings that have portrayed an important part and served an immense memorable purpose to the community, they are removing a great part of history that many people from various generations have experienced throughout the years.

    Another personal example of rasquachismo makes me think of how sometimes people may throw away materials such as plastic or cardboard as they are often viewed as non-usable and perhaps non-functional—they can be viewed as looked down upon. As someone who is an artist and loves photography, I recently did a project/series that involved using my oil diffuser box and created a pinhole camera out of cardboard, mimicking a medium format camera. For the most part, I enjoyed the process behind creating it as it could also be a great additional reminder that one can always create a work of art out of items and materials that society may consider as ‘trash.’ 

      

Gutierrez, Kimberly (Magdalena Suarez Frimkess Abstract)

 Magadalena Suarez Frimkess & Michael Frimkess by The Hammer Museum

            In a 2014 exhibition curated by the Hammer Museum, they exhibited the work of Magdalena Suarez Frimkess and her partner Michael Frimkess that explored using pottery from a traditional lens,  incorporating Native Americans and Aztec representations. Around the late 1970s, she then shifted her focus to creating pots as well as sculptures of cartoon characters and pieces of advertisements. She collaborates with her husband, Michael who is also a ceramist and has been working together since 1963. Their collaboration constitutes creative funding for their art projects. They share a studio together where Michael throws pottery in a traditional manner as Magdalena glazes each pot strikingly. 

https://hammer.ucla.edu/made-in-la-2014/magdalena-suarez-frimkess-michael-frimkess

 Magadalena Suarez Frimkess & Michael Frimkess by The Nevica Project

The article by the Nevica Project highlights the work of Magdalena Suarez Frimkess and Michael Frimkess as their work in ceramics has gain immense recognition by many celebrities, art collectors, and art museums that centers around pottery, vases, and sculpture-like Disney characters. The Nevica Project exhibited this body of work in an exhibition and purchased Magdalena's work for other additional future exhibitions. The article further discusses Michael Frimkess who is Magdalena's husband which he pursued music in his earlier career and later on pursued a career in art after a trip that inspired him deeply. With this exhibition, audiences will be able to get to know Magdalena Suarez Frimkess as an artist.

https://www.thenevicaproject.com/magdalena-suarez-frimkess-and-michael-frimkess

 Magdalena Suarez Frimkess (South Willard P) book 2019 by Ricky Swallow

In the book “Magdalena Suarez Frimkess,” Ricky Swallo discusses the journey of Magdalena Suarez Frimkess who is a Venezuelan artist living in Venice, California with her husband Michael Frimkess. She moved to Chile when she was just eighteen years old and was famously known for her ceramic work. After Chile, she resided in Los Angeles, California where she met her husband Michael. Magdalena is currently in her 90s and she is receiving great recognition in the art world with having exhibitions at the Hammer Museum and LACMA. The book includes detailed work of her Disney and cartoon pieces with many photographs for viewers to look at.

 

Gutierrez, Kimberly (Week 3)

     As a kid in my community, murals of la Virgen de Guadalupe were always prevalent throughout my childhood. During my visit to Mexico with my family in 2008, I remember not only looking at religious artwork, but beautiful sculptures of her displayed throughout my parent’s pueblo. In my parent's pueblo in Michoacan, Mexico, every year in December they have a celebration that primarily commemorates the Virgen de Guadalupe, where many people attend this festival and have a parade that pays tribute to her. As part of the celebration, people bring flowers, carry the image of her, there are musical performances made by dancers—people gather together and sing meaningful songs that honor her. Additionally, growing up in a Catholic household, her imagery was prominent in church spaces as she continues to be an important religious figure in Catholicism. My family would often ask the Virgen of Guadalupe to intercede for us in a moment of prayer. 

    In my time attending catholic school, the image of the Virgen de Guadalupe was ideally present in the classrooms and hallways. One of my most rememberable experiences was creating and replicating her image with coloring pages as well as drawings. The teacher also had us create a mini sculpture made out of colored paper and presented our work on the wall. Another great experience was being part of a school play that unfolded the story of Joseph and the Virgen de Guadalupe—my role was portraying her which was quite an interesting experience.

    Aside from my experiences in Catholic school, I sometimes see the image of the Virgen de Guadalupe around East Los Angeles, such as in paintings or murals behind food markets being displayed as wall art in Latin shops throughout the region, including Latin communities in various parts of the country. The image of the Virgen de Guadalupe is monumental for many Latin Americans, especially those who commemorate traditions of Catholicism and hold its rituals and values within their families or identity. 

Laura Aguilar

1. Laura Aguilar

2. Ana Mendieta

3. Luz Carabano 

Gutierrez, Kimberly

 

    

My name is Kimberly Gutierrez, and my pronouns are she/her/hers. I was born and raised in the City of Los Angeles and grew up in a small town called South Gate. I am a first-generation college student and am also part of the transfer community—this is my second year at UCLA where I am studying art with an emphasis on photography. My passion and drive for photography began at the age of twelve as I enjoyed photographing the world around me, incredibly fascinated with the idea of capturing hidden moments through time that not only preserves the image but forever lives in a photograph. Additionally, I work with film and digital and enjoy working with both mediums. However, the process behind film brings me immense joy, whether that is making silver gelatin prints in the darkroom, developing film, or taking countless photographs out in my neighborhood. Photography is such a therapeutic and meditative process for me because it allows me to truly express myself freely, as well as creatively as an artist, yet share my craft with the world through social media. My work primarily focuses on landscapes and ordinary objects that people may overlook in their day-to-day life, reminding others of the beauty around them.

    In this course, I am looking forward to learning more about Hispanic/Latino/a artists that work in various mediums and styles as well as touching base with the exploration of Hispanic cultures. Thus, I am excited to learn about new artists and their journey not only as an artist but the process behind their craft and approach. A great favorite artist of mine is Frida Kahlo for her raw and moving work; her ability to pour her emotions into her art practice is utterly beautiful. As a Mexican-American artist, I am interested in conducting research in the photographic world, touching base with researching more women of color who worked with analog.