Resendiz, Johana (Xandra Ibarra)

     I explored her website and found pieces that I expected. By that, I mean I was not shocked by anything. Once I looked into her first photograph listed, I was shocked. Her first piece, "Free To Those Who Deserve It," was an interesting title, so I visited the page. A series of images depicting multiple penises with piercings jabbing at them is the photographs she created. I was so confused I had to make sure I was on the right website. I spent five minutes trying to make sure I spelled Xandra Ibarra correctly because I could not believe the difference between her creative ideas. I went from looking at a picture of a fireplace to feeling second-hand pain. There is nothing wrong with the art Xandra created and photographed; they are clear and add dimension to her work. Yet, I do not understand the significance or means for this piece even after reading the description. She spoke with confidence, "Human Flesh is tough as nails," yet does not describe the actual reason she chooses to destroy it. I expected a feminist piece yet did not find a connection besides hurting the male species. I keep looking through her website for an explanation but can not find a single word on it. Why did you choose to create this piece, and how does it bear significance in 2020? Besides the unexpected use of penises, I found her art to be representative of Chicana feminists going through quarantine. Simple piece including "Views and Cast of/from My Mail Slot on the 30th day of Quarantine," reminds me of the days I felt neverending in 2020. The light and darkness fill me with sadness, but beyond that, I feel scared, scared of the life I lived alone and the ones many others had. Both this feeling of fear and confusion reflects the power behind Xandra, a great artist. 

Resendiz, Johana (Rasquachismo)

     Although I have never heard of the term Rasquachismo, some of my family's norms are defined by this word. Rasquachismo refers to people whose actions do not follow the norm and "hacen rendir las cosas" which means making things last. Rasquechismo is commonly found in lower-class Chicanos and Immigrant families because they can not afford to buy new things. My mother has always reused different plastic bags from the supermarket as trash bags. She even went as far as to use a brown McDonald's paper bag as a trash bag. Reusing these bags instead of buying new ones would be an example of Rasquachismo. The social norm would be to spend extra money on unnecessary things due to capitalism, but because we are a low-income Mexican family, we follow different values. Even here in college, I have collected multiple plastic bags at the bottom of my desk because I fear spending too much money. 

    Middle-class Chicanos and Mexicans rarely take part in Rasquachismo because they are not the underdogs. They do not go out of their way to create new things from used objects. They do not come from "ghetto" communities or the barrio, and for that reason, they try to dissociate from the character Rasquachi. The ability to reuse worn-out objects should be praised as a talent, yet it is commonly associated with the poor. It is common now to see middle-class white people participate in a culture of "zero waste" and recycling because of climate change. They do not follow this trend because of economic reasons which are why they gain praise for it. Meanwhile, Mexicans are belittled for their for practicing the same lifestyle. The miss treatment of people who practice Rasquachismo is both classist and racist, and unfortunately, I do not know how to fix this. 

Resendiz, Johana (Abstract on Luz Maria Sanchez)

   

Source 1: https://uam-mx.academia.edu/LuzMariaSanchez/CurriculumVitae 

This curriculum vitae by Academia Education goes through the professional life of Luz Maria Sanchez. There are clear descriptions of both her auditory work and visual artwork. A collection of her works are listed, as well as the locations they reside. Although Luz Maria Sanchez has tenured in multiple institutions, Academia Education includes every lecture she has given. The overall detail of this Curriculum Vitae is 50 pages long, so there is enough information for any research on her. 

Source 2: https://artpace.org/works/hudson_showroom/hsr_fall_2015/diaspora#/works_gallery 

This description of the art exhibit Diaspora by the nonprofit residency program Artpace analyzes the two artworks created by Luz Maria Sanchez. Although both art pieces are different mediums, one being visual and the other auditory, Artpace describes both art pieces in detail concerning the Mexican Diaspora. The auditory work repeats the names of people who have crossed the border in random order to show unity. Her visual artwork is a collection of forgotten or lost items found in the Rio Grande people cross to make it to America. Artpace concludes that her work has left a lasting impact on the people who have seen and heard it. 

Source 3: https://www.artpace.org/artists_and_curators/luz-maria-sanchez 

The nonprofit residency program Artpace based in San Antonio describes the professional and personal life of Luz Maria Sanchez. Artpace introduces her as a Mexican born in Guadalajara who is currently residing between San Antonio and Mexico City. They claim she is working with auditory and visual art. Artpace list some of the places her artwork is found, Museo de Arte Contemporáneo de Oaxaca and McNay Art Museum being two of them. Artpace concludes by listing some of the exclusive grants she has been awarded.

Resendiz, Johana (Week 3)

 

Although the Chicanx and Catholic community praise La Virgen de Guadalupe, I do not love her. I feel uncomfortable when thinking of her because of my Christan background. When I was younger and living with my aunt, she raised me Christian under the ten commandments. But when I visited my parents, who were not religious, I would watch La Rosa de Guadalupe on t.v. for entertainment. I enjoyed the show, yet I was always anxiously awaiting the day my aunt would find out. She would scold me for exploring the concept of praising other saints, so this left me questioning my identities. 

Most of the Chicanx classes I have taken delve into the relationship Chicanx has with La Virgen and how she has strong roots in Mechica beliefs and culture. When I see La Virgen illustrated on the bodies of Chicanx, I understand the sacrifice and pain they endure for their mother, yet I can not feel that same love for anyone else. It makes me challenge my Chicanx identity and feel like an outsider. I wish I had a connection with her, especially because she could connect me to my indigenous identity. Yet, I can not help but reflect on the misogynistic story she holds. 

Idealizing a pure virgin is not ethical or empowering for young women. It makes me feel guilty for having natural desires and curiosity for sex, when in fact, men are praised for having those same desires. This concept leads to machismo and abusive husbands, which is why I associate her with strong men who feel the need to show strength through La Virgen tattoos. And sure, maybe there is more symbolism behind the pure rose La Virgen carries, but that does not take away the strict expectations on women because of her. Yes, my experience with La Virgen is limited, but her impact on me is still negative. I can never feel complete when looking at her purity.

Johanna Toruno

 2) Luz Maria Sanchez

3) Annette Martinez

Resendiz, Johana

 

Hello! My name is Johana Resendiz, and my pronouns are she/her. I come from Riverside, California but was born in Long Beach. My major is currently Biology with a minor in Chicanx Studies, but I will be changing it for a double major in Chicanx Studies and Public Affairs. I took many art courses in high school which focused on creating pieces through different media. Of the four classes, none have focused on the history of art or artist. Thus, I would love to learn more about different types of Chicanx artists and support their creations! 

Besides my interest in art, I find myself drawn to the concept of intersectionality because I am a queer, low-income daughter of a deported immigrant mother. I am specifically interested in deconstructing the roles created to keep the rich wealthy and the poor powerless. The idea of whether racism is constructed to divide the poor and unite the rich is constantly plaguing my thoughts. Racism ensures that even the most impoverished white person will feel superior to the riches Black person, and thus, gouging a deeper scar in the division of humanity. Hatred ingrained in the mentality of too many prevents unity and solidarity from flourishing in even the closest of communities. Thus, creating the inability to overthrow the capitalist hugger of the rich. 

The reading reminded me of this concept from the view of sexism and not classism. Conditions For Producing Chicana Art by Sybil Venegas helped me understand how the perspective of art consumers has primarily focused on white males and Chicano art. The constant suppression of Chicana art by sexist ideals is an example of how men uphold the patriarchy. Yet, as the text states, Chicanas' need to survive in this world fuels the creations that are finally recognized as art. Although art still is censored, this is a beautiful time for everyone, especially Chicanas to manifest their abilities into gorgeous pieces of all mediums. Through this enlightenment, I am floored by the power in this class to advocate for these artists.