Week 10: Course Reflection

As my first course in the Chicana/o and Central American Studies department, this class has allowed me to learn so much about Chicanx/Latinx art and culture. What was especially exciting was that I also had the opportunity to learn from the personal experiences of my peers through their discussions in the lectures as well as their reflections in their blog posts. As a Los Angeles native, this class has also allowed me to think more critically and reflect on the rich history and cultures within various LA communities that are often overlooked due to gentrification and forced cultural assimilation. 

A specific artist who I enjoyed learning about during the artist presentations is freelance painter, muralist, and digital illustrator Manuela Guillén. I really like her contemporary editorial style as well as how she is able to shed light on various issues pertaining to topics such as arts education, voting rights, social and political rights, capitalism, and the environment. She is also an art teacher who believes that art should be accessible to all communities in both the art-making and viewing process. I strongly agree with this sentiment and believe that there should be a continued push for art accessibility in order to reflect more diverse identities and experiences. Her art pieces that were presented during the lecture brought awareness towards the impact that capitalism has on human rights, the mistreatment of farmworkers, and the importance of self-care. 

A concept that stood out to me during this course was rasquachismo/domesticana. Learning about both of these terms allowed me to reflect on how art that has been traditionally recognized in mainstream galleries is typically reflective of upper-class, white, male experiences. It was eye-opening to learn about how rasquache and domesticana art is able to enforce how art can be created through utilizing unconventional materials. This art form is able to reflect more diverse identities, cultures, and lifestyles that can more effectively show the personal experiences of the artist. This concept also emphasizes the flexibility of the art-making process, showcasing how artists do not have to rely on traditional materials in order to practice their craft.

Week 9: Chicanafuturism

Catherine S. Ramírez's "Deus ex Machina: Tradition, Technology, and the Chicanafuturist Art of Marion C. Martinez," discusses how the evolution of technology and identities continues to transform traditional art forms. Ramírez defines "Chicanafuturism" as "Chicanx cultural production that attends to cultural transformations resulting from new and everyday technologies; that excavates, creates, and altars narratives of identity, technology, and the future; that interrogates the promises of science and technology; and that redefines humanism and the human." I have not heard of this term before, so it was interesting to read about its development. Ramírez is able to first touch on the history of New Mexico's developments, addressing how the tourism industry has romanticized the state. New Mexico's Department of Tourism engages in selective ethnophilia and exploitative tactics rather than bringing awareness towards the state's demographic, socioeconomic, and environmental realities. Martinez's Cyber Arte series is able to emphasize how technology and science have affected New Mexico's people and environment. Her work is also able to bring awareness towards how New Mexico has been a dumping ground for high-tech trash. Martinez has always been fascinated with the construction of machines and is able to merge organic and inorganic qualities through using computer parts, wood, and other materials in her work. Her fascination with technology has ultimately influenced her unconventional materials as an artist. 

Western definitions have often associated the Chicanx community with a more primitive and racialized past rather than with the technologically enhanced future. These generalizations are inaccurate and Martinez as well as many other Chicanx artists have been able to reflect on how new technologies have allowed the Chicanx community to link past, present, and future identities. Martinez states how technology can force people to alter their ways; however, technology can also help to hold onto culture. She has been able to demonstrate this quality through her work in preserving the santo tradition. Ultimately, as Ramírez states, there is still an unclear line as to where the boundaries of culture and tradition lie in accordance with the advancements of technology. However, hybrid cultural products and practices have been able to reflect the resilience and malleability of culture. 

Week 8: ¡Printing the Revolution! Virtual Conversation Series: From Black and Brown Solidarity to Afro-Latinidad

¡Printing the Revolution! Virtual Conversation Series: From Black and Brown Solidarity to Afro-Latinidad hosted by the Smithsonian American Art Museum addressed how Black and Latinx artivists have and continue to strongly impact social justice and equity. The panel was moderated by Kaelyn Rodriguez, a social art historian, activist, and professor from Los Angeles, CA. The panelists included Malaquias Montoya, Moses Ros-Suárez, and Favianna Rodriguez.

A Free Palestine, 1989

Malaquias Montoya is a graphic poster artist who was raised in the San Joaquin Valley and later moved to San Jose, CA. During his upbringing, he and his family spent their days harvesting crops, which Montoya describes as having a strong impact on his artivism efforts since it allowed him to learn and grow within a multi-ethnic community. His first experience creating a political poster was in 1968, where Montoya was asked to create several hundred posters to publicize a walkout planned by Chicanx high school students in San Jose. He described this experience as the moment he realized the positive impact that posters can have on activism efforts. I really enjoyed his discussion regarding how Caesar Chavez's push for reform for farm workers has been able to change his perspectives. Montoya used to be embarrassed when his mother would pick him up from school in her work clothes, but Caesar Chavez was able to teach Montoya about how his mother actually contributed greatly to the developing wealth of this country.

Rebirth of Our Nation, 2020

Moses Ros-Suárez is an artist, printmaker, and architect who was born and raised by a single mother in New York City. Ros-Suárez described his early experiences with graffiti art and mentioned how it gave him a sense of identity since he felt invisible growing up. While working with aerosol, Ros-Suárez was able to network with kids from different areas across the city. He then joined NOGA (Nation of Graffiti Artists) in the early '70s, where he shifted from painting on walls to working on canvas. Ros-Suárez has created work that is reflective of solidarity among Black and Brown artists, addressing topics that are not talked about enough in the community. For instance, he recently created an art piece (in the picture) where he added color to a black and white print. He described the addition of color as a way to better represent the rebirth of our nation and to give the painting more life. He mentioned that he included the words "class," "race," and "power" because of the lack of conversation on these topics in our society.

Black Latino Unity, 2008

Favianna Rodriguez is an interdisciplinary artist, cultural strategist, and activist who currently resides in Oakland, CA. She talked about how she grew up during the War on Drugs, which she mentioned is a consequence of a cultural narrative used against communities of color. This was a contributing factor to the current issue of mass incarceration. Rodriguez also witnessed police brutality, gangs, and the neglect of her community during her youth. Rodriguez is grounded in the belief that her art can share a story and how culture, art, and the stories we share are powerful in shaping politics and reality. Also an environmentalist and feminist, Rodriguez has been able to create works such as Reject. Restore. Project., 2019 to address the greater negative impact of pollution on communities of color as well as Feel It All, 2019 which focuses on sexual liberation and healing. 

Week 7: Graffiti Is Art

“Graffiti is Art” by Charles "Chaz" Bojorquez from Chicano and Chicana Art: A Critical Anthology addresses how graffiti is a form of artistic expression that reflects unique identities. As described by Bojorquez, graffiti is normally portrayed negatively in mainstream media, often associated with vandalism and destructive behavior. This, as a result, has placed a negative reputation on graffiti artists, devaluing their work. Bojorquez is able to talk about his personal journey with graffiti, mentioning how his work is reflective of what he describes as the "West Coast 'cholo' - style." Los Angeles graffiti is able to present a unique style, and Bojorquez talks about placas, which are gang wall writings that illustrate gang strength. He also describes the Los Angeles walls as a way for Mexican Americans to signify their strength and pride. As for Bojorquez's personal artistic journey, outside of his experience with his work among the streets of LA, he has also done commercial work for a number of reputable names (e.g. Reebok, Star Wars, Arco, music albums). Through his commercial art, Bojorquez was able to realize how advertising and graffiti have similar issues (such as the question "who really owns the public space?").

As someone who grew up in Los Angeles, I have always had a fascination for graffiti art. I would often be mesmerized by the colorful visual presentations plastered on trains, walls, and buildings. I also have a personal interest in mural/typography work, and graffiti is a very impressive representation of both. I also agree with Bojorquez when he says that the graffiti movement has transformed over the years. Graffiti artists are constantly reinventing their personal styles, refusing to settle for one certain category. These artists are also not limiting themselves to a particular space. For instance, graffiti work has been displayed in major art museums, magazines, clothing, digital media, and more. As stated by Bojorquez, this does not necessarily take away all of its authenticity but rather pushes for greater acceptance, intent, and appreciation for the form. 

Extra Credit: Art of the State symposium

Through the Art of the State symposium, I was able to learn about the background and influence of artists Victor Payan, Pocha Peña, and Amalia Mesa Bains. I learned more about the practice of arts activism and how important it is to engage in intergenerational conversations in order to promote more productive approaches. The artists were able to talk about how their personal upbringings have influenced their art-making processes, and how they have been able to utilize multimedia approaches to showcase their expertise in more than one field. 

Victor Payan and Pochas Peña are able to initiate difficult conversations through humor. Victor is a cultural writer, performer, film-maker, and transmedia artist. As a San Diego native, he described it as a hotspot during the ’80s and late ’90s as a place to inform the global dialogue of what Chicano culture is and could be. Through his work, he is able to examine history and the future at the same time, looking at the present to determine what representation is currently missing. Pochas described her upbringing as having a very interesting relationship with the land. She had grown up in Orange County but spent her summers at her grandparents’ ranch in the Andes. She was able to see the extreme contrast between the two locations, which showed her that systems do in fact matter when retaining cultural histories. Pochas also provided great insights into art activism, mentioning that artivism requires intergenerational wisdom in order to maintain strong ties with the community. In order to have intergenerational conversations, Pochas pushes for authentic conversations without bludgeoning the other person with words. She also mentions that we need to unlearn seeing others as the enemy in order to engage in productive dialogue. 

Amalia Mesa-Bains describes her early work as reflecting family narratives, belonging, and typography. She constantly aims for cultural exploration, cultural reclamation, and community engagement through her art. She also engages in cultural transformation by taking material and transforming it so that it is more relevant across different spaces. Amalia was able to talk about her collaboration and the work of other Chicana artists including Ester Hernandez, Judy Baca, Consuelo Underwood, and Patsi Valdez. A specific artwork of Amalia’s is her Borders piece, where she examines the border as a place of negotiation, violence, and reconciliation. This piece has been shown around the world in Mexico, Turkey, England, and the United States from 1990 to 2017. Amalia mentions how the issue of immigration is a consistent and ongoing challenge to social justice. In terms of the path ahead, she describes how the past couple of years have had a tremendous effect due to the ongoing struggles of the Black Lives Matter movement, immigration, and environmental rights. Amalia emphasizes how we must continue to face these issues and push for change.

Week 6: Rasquachismo and Domesticana

 Rasquachismo, as defined by Tomás Ybarra-Frausto in Chicano and Chicana Art: A Critical Anthology, is an attitude rooted in resourcefulness and adaptability, yet mindful of stance and style. It can be represented in not only objects and places, but also through people and acts. This term represents a working-class sensibility where it often reflects a lived reality that evokes resourcefulness. The utilization of what is at hand has allowed for hybridization, juxtaposition, and integration as stated by Ybarra-Frausto. When relating the term to objects, there is a sense of temporality and impermanence. When relating it to taste, rasquache represents the unrestrained, elaboration, and flamboyance (e.g. bright colors, high contrast, bold patterns). Ultimately, rasquachismo defies the accepted “superior” norms of the Anglo-American with the daily realities of Chicanx culture. 

Amalia Mesa-Bains, Venus Envy Chapter One
(of the First Holy Communion Moments
Before the End)(detail), 1993.

Domesticana, as described by Ybarra-Frausto, is the expansion of a feminine rasquachismo to establish greater sensibility regarding struggles related to identity, power, and sexuality. This term developed from the resistance to majority culture and affirmation of cultural values, as well as restrictions placed on gender identity within the culture. Ybarra-Frausto mentions that the centrality of family life directs the sensibility of domesticana, where Chicanx women are frequently raised in hierarchical roles of male over female, old over younger. Characteristics of domesticana work involve innovating traditional religious iconography and/or everyday reflections of femininity and glamour.

I decided to include a photograph of artist Amilia Mesa-Bains’ Venus Envy Chapter One (of the First Holy Communion Moments Before the End) instead of providing a personal example. Mesa-Bains has been able to cultivate the aesthetics of domesticana through her work.

Week 5: The Virgin of Guadalupe

Growing up in Los Angeles, I have seen a lot of images of the Virgin of Guadalupe painted on walls, in shops, and in corner stores. However, because I did not have personal experiences or a lot of previous knowledge regarding the Virgin of Guadalupe at the time, it was always a passive interaction. One English course that I took at community college, where I was assigned to read Thirteen Senses by Victor Villaseñor, served as my first introduction to the Virgin of Guadalupe’s impact on Chicanx/Latinx culture. This book was a memoir to the author’s parents, where the story revolved around the struggles presented in Victor's parents' marriage. The book introduced me to some of the concepts in regards to how the Virgin of Guadalupe traditionally served as a model for what was believed to be “proper” behavior for Chicanx/Latinx women. The story included many themes related to feminism and the Virgin of Guadalupe: Lupe’s (Victor’s mother) defiance against the church in order to embrace her individuality and autonomy in her marriage, struggling to uphold tradition in hopes of pleasing her religious parents, and being compared to the Virgin of Guadalupe whenever she went against her husband’s wishes. 

Through this course, I have learned more in terms of what the traditional image of the Virgin of Guadalupe can represent in Chicanx/Latinx communities. As mentioned in “Where are the Chicana Printmakers?” by Holly Barnet-Sanchez, the icon traditionally represents virgin motherhood, protection, and passive intercession which has been highly influential in stereotyping what constitutes a “good” Chicana. Chicanx women artists, like Yolanda M. López, have been able to transform the Virgin of Guadalupe into a more assertive, active, youthful, and active figure. I hope to continue educating myself when it comes to learning more about this topic, and I look forward to reading about the personal experiences of my peers as well!

Week 4: Denver Art Museum Panel

The Denver Art Museum panel, moderated by Latin American art curator Jorge Rivas Pérez, was able to delve deeper into the realm of Mexican Modernism. The panel included artists Pablo Helguera, Damian Ortega, and Professor Alma Lopez, who were all able to address three main themes: reclamation and appropriation, public art as activism, and layered identities. Each artist discussed the progression of their art, what elements served as inspiration during their art-making process, and how they have reflected historical moments as well as personal experiences in their work. 

Instituto de la Telenovela, 2002

The first artist, Pablo Helguera, addressed his struggles with his personal identity as an artist since he initially felt as though he had an expectation to create what people presumed to be Mexican art. From this, Pablo was able to reflect through group exhibitions and other works that there isn't a singular Mexican identity. Pablo also introduced his work, Instituto de la Telenovela, which sought to trace the impact of Latin American soap operas on the rest of the world. This installation included the creation of domestic spaces, data displays, and a functioning resource center. Another work of Pablo's that I found really interesting was his recreation of his uncle's Silent Sam poster. Pablo was able to create a black and white version with the words "silence is compliance," which he later printed and posted around NYC during the peak of the BLM protests.

Controller of the Universe, 2007

The second artist, Damian Ortega, initially started as a political cartoonist and later delved into painting, sculptures, and installations. One of the projects he highlighted was a painting project he initiated during the pandemic. He took photocopies from original mural fragments and created reproductions of them. It was inspiring to hear him talk about how it took him months to truly understand the material that he was working with. This illustrated how artists are still constantly learning through experimentation. I also enjoyed hearing Damian talk about how the turbulence of 2020 gave him the opportunity to reinvent his work. He was able to take his time with his art production, which allowed him to enjoy the art-making process even more.

Our Lady, 1999

I enjoyed learning more about how Professor Alma Lopez's work has reflected her identity as a queer, Chicanx, feminist, activist artist. Her story regarding her experiences viewing the Las dos Fridas painting at 13-years old was so interesting. Professor Lopez mentioned how this was the first time she had seen two women with different identities (European and Indigenous) so close together in a public space. During the Q&A portion of the panel, I appreciated Professor Lopez's discussion regarding whether her work is reflective of political themes. She had mentioned that when she creates work, she isn't necessarily thinking about a particular political message or her audience, but is rather reflecting on the conversations she had or the literature she was reading. She is able to openly embrace her involvement in this current movement as a feminist, Chicana, queer activist.

Week 2: Question & Answer for Claudia Zapata

Although digital platforms have assisted Chicanx artists with expediting the production and distribution of their art for political action, there are still concerns regarding algorithm biases in online communities. How can artists from underserved groups combat the issue of algorithmic oppression online when engaging in artivism? 

Algorithmic oppression is when search results do not offer equal opportunity for all forms of ideas, identities, and activities. Data discrimination, where certain results will be prioritized due to for-profit gain behind promoting select websites, is largely due to the monopoly of popular search engines (e.g. Google). These search engines also have a history of discriminating against people of color, specifically women of color. Social media may also play a role in the biased retrieval of information since many users typically follow accounts and/or media outlets that appeal to their personal views. 

Despite these issues, digital platforms have still served as a huge asset for Chicanx artists through providing new mediums to visualize political resistance, allowing for the creation of graphics that can be electronically distributed, and increasing efficiency when crafting new pieces. However, algorithmic oppression is limiting the potential reach of these artivism efforts. In order to combat this issue, larger institutions with a mainstream presence will need to provide a more prominent platform for Chicanx artists. Activists have been able to bring about change over the years, however, there is still progress to be made in diversifying art in online galleries, databases, mainstream media mentions, and more. For individuals who are aware of this phenomenon, we can be more proactive in sharing artwork from artivists across our social media platforms so that they can reach a wider audience. We should also be mindful of the associated hashtags and rhetoric when distributing their work. 

Image: Favianna Rodriguez's website serves as a multimedia resource for an artist's shareable graphics.

A principle (quoted in the essay) that graphic artists Jesus Barraza and Melanie Cervantes follow resonated a lot with me: “to create artwork accessible to the communities who inspire it.” I enjoyed reading about how many Chicanx artists have made their digital prints easily accessible to users (e.g. creating black-and-white prints so they are more affordable to print, creating downloadable files so that users can distribute them across social media). 

Cassandra Giraldo

Cassandra Giraldo is a photojournalist and documentary filmmaker known for her work covering juvenile justice, mental health, education, and coming of age. She is currently a story producer for Vox Media and contributes to various publications, like The Wall Street Journal and The New York Times, as a freelance newspaper photographer.

Biography

Originally from Los Angeles, California, Cassandra now lives and works in Brooklyn, New York. Cassandra received her first camera in high school and has been empowered by photography ever since. She found that photography has given her a voice and an alternative means to communicate, and this has inspired her to continue her pursuits in photo education projects and work with underserved youth.

She graduated from Skidmore College in 2011 with a Bachelor of Arts in International Affairs and French after which she completed the Photojournalism and Documentary Studies program at the International Center of Photography in 2012. After her studies at the ICP, she began freelancing at The Brooklyn Paper, which served as a pivotal starting point in her career as a photojournalist. Her drive ultimately led her to work as a contributing photographer for The Wall Street Journal. During her general assignment work as a full-time freelancer, she also pursued personal projects that fed her passion for youth stories and education. In 2015, Cassandra went on to pursue a master's degree at Columbia Journalism School's Toni Stabile Center for Investigative Journalism where she received the Elaine Exton scholarship in advanced education reporting.

Notable Works

After School Project

This is an ongoing series on Instagram (@afterschoolproject) where Cassandra illustrates how urban youth spend their time outside when they are not with their parents or teachers. This project was recognized as an exceptional finalist in the Getty Images Inaugural Instagram grant (2015), awarded The Education week award at the Eddie Adams Workshop XVIII (2015), a finalist in the Lucie Foundation Emerging Scholarship (2016), and in publications including The Guardian, Vice, and I-D Magazine.

Further Reading

1. http://school-stories.org/2016/03/building-a-student-movement-one-paint-stroke-at-a-time/ (Cassandra’s “Students Not Suspects” project) 

References

1. https://nppf.org/scholarship-winners/2016-winners/cassandra-giraldo/

2. https://visura.co/CassGiraldo/news#Menu

3. https://artpil.com/cassandra-giraldo/

External Links

1. http://www.cassandragiraldo.com/ (Cassandra’s personal website) 

2. https://www.instagram.com/cassandragiraldo/ (Cassandra’s Instagram) 

3. https://www.linkedin.com/in/cassandra-giraldo-66656a32/ (Cassandra’s LinkedIn) 

4. https://twitter.com/CassGiraldo (Cassandra’s Twitter) 

5. https://blink.la/u/cassandra (Cassandra’s Blink)

        

Huang, Marian

Hi everyone! My name is Marian Huang and my pronouns are she/her/hers. I am a fourth-year Communication major and transfer student who previously attended ArtCenter College of Design and Mount San Antonio College. This is my first course in Chicanx Central American Studies so I still have so much to learn, however, I am really excited to expand my knowledge regarding Chicanx/Latinx culture, specifically in visual art production. As a previous art student who studied Illustration, I had the opportunity to evaluate firsthand how artists are able to visualize their personal experiences and identities through a wide range of art mediums. I have personally used various painting and drawing mediums in the past, and have recently been delving into graphic design; however, I would love to learn more about the specific mediums used in historical and contemporary Chicanx/Latinx artwork. After transferring and taking courses at UCLA, I have also gained a stronger interest in learning more about how the arts can be incorporated into activism. 

For this week’s reading “Printing and Collecting the Revolution” by E. Carmen Ramos, I found the discussions regarding museum curation really interesting. Historically, it has been especially difficult for underrepresented artists to gain a substantial platform in mainstream museums. I enjoyed reading about how Gilberto Cárdenas was able to create positive change regarding this disparity through his cultural activism. For instance, he was able to report on the Smithosian’s lack of staff diversity and point out the museum’s disregard for Latinx culture. The lack of diverse representation is still prevalent in not only museum curation but also in the creative industry as a whole. This reading opened my eyes to how there is still room to highlight more accurate and dynamic histories across the arts in the United States.

I look forward to getting to know everyone over the course of this upcoming quarter!