Week 10- Chicana Gender Roles (Paden, Lily)

 For my final blog post of this quarter, I wanted to dive a little deeper into a topic that the course has touched on a few times throughout the last ten weeks. Coming into this class, I knew little to none about the traditional gender roles within the Chicanx culture. I have learned how many Chicana artists challenged the traditional gender roles (submission, domesticity, lower-paying/less-committed work to be able to take care of the home and children) through various art pieces that made political statements. In Gloria Anzaldua's "Border Arte" reading, she notes multiple pieces that empower women, from Yolanda Lopez's Portrait of the Artist as the Virgin of Guadalupe to Marsha Gomez's This Mother Ain't for Sale, which touches on the "cultural rebirth" of Chicanas rejecting oppressive gender roles. 

I also thought it was appropriate to discuss this topic as today is International Women's Day. Something that I have always appreciated throughout this course is the dominance of female authors and artists that we have studied. In so many classes that I have taken while an undergraduate college student, many syllabi have a majority male authors/pieces to be studied, and I find it so empowering that this class strays from that tradition. Especially since we are studying art, a field that is so male-dominated. I find it so important to study women's work, to empower and bring attention to women's work. During this course, we have studied the biographies of some Chicana artists, their stories, their strengths, inspirations, families, greatest achievements. There have been assignments where we dove deep into the challenges of some female artists, which I want to emphasize in this final blog post. More courses should incorporate a greater number of women authors and creators and I am so grateful to have taken a class that makes women feel so recognized and appreciated. 

Week 9: Chicana Futurism (Paden, Lily)

 The article "Deus ex Machina" by Catherine S. Ramirez gave great insight to the ideas surrounding Chicana futurism, and included many details about the history and artwork of the New Mexico region and also told histories of Catholicism. Ramirez writes about how Chicana artists have used computer and computer softwares and hardwares to create traditional images (such as religious figures), which seems to be a way of combining the old and new. Technology and tradition seem to be opposites of some sorts, and combining these two ideas has created an innovative art form. 

Folk art was also a common theme throughout the article, which is thought of as art that reflects its surroundings. For many Chicano and Chicana artists, this can be highly associated with religious images. Saints and Santos were discussed in the article, and were commonly portrayed in pieces done by Chicano and Chicana artists. Ramirez writes "Santos were links to an idealized past," (149). 

Later in the article, Ramirez writes on the exclusion of both African Americans and Chicanos from "the world of science, technology, and reason, and were confined to the domain of superstition, mythology, and intuition," (150). This is an idea that I had never considered before, and find it very interesting how when studying the Chicano culture, perhaps there is a lot of superstitious or mythical associations, but it is partially because of how majorities confine others. Ramirez continues later with “Chicanos have been barred from Western definitions of the human and denigrated as infrahuman. They have been excluded from and objectified by discourses of science… Yet, new technologies have transformed Chicanos, and they have enabled us to articulate (to enunciate and link) past, present, and future identities. This is evident not only in Martinez’s visual art but in also in the work of numerous other Chicana and Chicano cultural workers, such as Teresa Archuleta- Sagel, Elena Baca, and Alma Lopez. (157)

The use of technology by Chicano artists have transformed the art world for these groups, and based on this quotation, it seems that technology has further allowed for Chicano people to find a greater connection between their past and their future.

Art by Marion C. Martinez

Week 8 Blog Post (Paden, Lily)

 

From the Printing the Revolution Virtual Conversation Series: From Black and Brown Solidarity to Afro-Latinidad panel discussion, I gathered that one of the greatest commonalities for the artists who were on the panel and one of the main themes for the discussion was how graffiti influences or forms identity. It is very clear that all of the artists who spoke used the art of graffiti and other forms of artwork, from painting canvases to creating prints, these art forms play a huge role in these artists finding themselves and exploring who they are, as well as their own history. 

Moses Juarez, a panelist, discussed how he felt invisible growing up, and his career in graffiti art helped to empower him. He created the Here and There Portfolio which was centered around identity. This portfolio featured ideas about culture, food, fashion, African roots, Dominican roots and more. 

Fabiana Rodrigez, another panelist, shared her experience with the environment that she grew up in, and how it influenced the art she created. She told some details about how she grew up with an Afro-Peruvian father, and how much violence she encountered in her city because of the War on Drugs. I have included a photo of her work above, and she described how she was so influenced by feminist work and ideas, and how she wanted to create artwork where she could imagine a different kind of future, with different solutions. I really resonated with her words here during the discussion as I also have many inspirations from other feminist artwork. I also like to create artwork that is about the future, as it can be a huge motivator to speak up and make changes when you feel passionate about something. This discussion panel was a very interesting listen and I am very inspired by all of the panelists. 

Week 7: Graffiti is Art (Paden, Lily)

 Graffiti is Art by Charles "Chaz" Bojorquez enlightened me to the general topic of graffiti, diving into the history of graffiti on the West Coast. I just learned from this reading that graffiti has been in the western region of the United States for over fifty years, as it really began in 1969. 

As someone who has lived in the big city of Los Angeles for 15 years of my life, I consider myself very familiar with graffiti. On endless streets, tunnels, freeway underpasses, and even sidewalks all over the city, there is beautiful graffiti artwork to admire, endless artists leaving their mark on the city. One of the most meaningful works of graffiti that presently displays in the city of Los Angeles is the portraits of Kobe Bryant and his daughter Gigi, which was done after their tragic death. I know this graffiti means a lot to many other Los Angeles residents. 

This reading taught me many new things surrounding the topic of graffiti, how it seeks respect, what it means to artists, but I was very familiar with the polarized sides of graffiti. I have come to know many people who are pro-graffiti and are extremely supportive of this art form, and I have also known many who are anti-graffiti, and think it carries an extremely negative connotation. Bojorquez writes, "Graffiti is too often related to such acts of vandalism, destructive behavior, and meaningless scribbles," (117). While my family has always admired the artwork of graffiti artists, I know of many parents from my hometown who do not agree. I come from a smaller town in the suburbs of Los Angeles, about an hour from downtown, and people really carry a stigma with them that seems to prohibit them from admiring or appreciating graffiti art. I believe this article would be a great read for those who hold this thinking, or those who are anti-graffiti, as the background and history of graffiti can change people's thinking. 

Paden, Lily/ Week 6 Blog Post: Domesticana

 From Tomas Ybarra-Frausto's "Chicano and Chicana Art," I have gathered that domesticana is "Chicana's rasquasche." The term domesticana is mainly defined in comparison to rasquachismo. Rasquachismo is said to be an attitude or taste, "an underdog perspective," (85). Domesticana features "techniques of subversion through play with traditional imagery and cultural material," (95). The two terms compare Chicano and Chicana art. Chicana art often demonstrates women challenging their traditional roles in domestic environments, like the kitchen or the bedroom. Domesticana can include a decorated female space, like a vanity dresser or a bedroom altar, reflecting "femininity and glamour," (95).

I am including a photo from the Oakland Museum of California that pictures a decorated Chicano vanity. This demonstrates how Chicana's have claimed their "domestic space," as discussed in the reading. The author describes the domestic sphere "with all its social roles and practices lived culturally, remains fixed in patriarchy unless representation of that world call into question such practices and thereby contribute to its change," (94).

Although I did gather a lot of information around the words rasquachismo and domesticana, I found the reading a little unclear. I read thoroughly and took lots of notes, but I don't think I have the most clear interpretation of the terms rasquachismo and domesticana, and what they mean to the Chicano culture. I hope we discuss these terms and topics in class so that I develop a better understanding. 

Week 5: Virgin of Guadalupe

 

Being raised in a Catholic family, I consider myself to be pretty familiar with the Virgin of Guadalupe. I was born into a white family, and am more familiar with this figure as being referred to as the Virgin Mary. From what I know about this figure, what was taught to me and what I learned in Bible studies growing up, the Virgin of Guadalupe or the Virgin Mary represented motherhood, purity, innocence, a blessing. 

As a child, I found the story of the Virgin Mary magical. I must add that I was much more in tune with my Christianity and my relationship with God at the time. Presently speaking, this relationship doesn't really exist anymore. No hard feelings, I have just learned more about myself and holding a strong faith isn't in the cards for me right now. But anyways, as a young girl, I found the story of the Virgin Mary as one that is very special, and I always studied it every Christmas, given that December 25th is often recognized as Jesus' birthday. 

I want to note that I respect everybody's personal religious choices and beliefs. Personally, I just had some qualms with many ideas in the Christian/Catholic religion, with the story of the Virgin Mary being one of them. It is no secret that Catholicism features sexist ideologies and one of the most significant examples of sexism is the shame/conservative legislation on birth control and abortion. As I educated myself more on feminist topics, I found the story of the Virgin Mary problematic as Mary is praised and made so famous being the mother of Jesus; she was able to become a mother and get pregnant without even having sex! She is so pure and so innocent that she birthed the son of Christ while simultaneously remaining a virgin. 

With the risk of being called a radical feminist, I think the story of the Virgin Mary promotes the patriarchy and sexist beliefs in the Catholic religion, a religion that I followed for about fifteen years. On a lighter note, I think the Virgin of Guadalupe statues are beautiful historical pieces of artwork that I will always admire. 

Week 3- Lily Paden (Artist: Yolanda Gonzalez)

 

I would like to write a Wikepedia page and present on the artist Yolanda Gonzalez. Yolanda is a Chicano artist who currently runs the MA Gallery space in East Los Angeles. This space serves as both an art studio for Yolanda as well as a classroom where she teaches painting and ceramics classes. MA Art Space was established over 25 years ago for Yolanda, and she still uses it today. She has noted she likes to use this space to empower other artists.

Yolanda was born in Pasadena, California in a Mexican family, many of whom were also artists. The both sculptor and painter was extremely talented from a young age and when she reached high school, her teachers encouraged her to pursue being an artist after graduation. She studied art at the Pasadena College of Art and Design and has since traveled all over the world to create commission pieces in the last few years. She also teaches art class for underprivileged children at Inner City Arts. This information was found at the journal article http://www.janm.org/exhibits/ffs/gallery/gonzalez/gonzalez.html .

Her pieces often feature bright and eye-catching colors, and she commonly does portraits of people. Some of these people are her own family members, as she likes to create pieces that connect her with her heritage. From a young age, she began painting indigenous women alongside her grandmother, which she has noted as some of her greatest memories. 

In 2015, Yolanda was featured in an artist feature news article for Self Help Graphics and Art for making the cover of American Association of Retired Persons, and her artwork was featured on numerous busses and bus shelters. Her news article feature can be found at https://www.selfhelpgraphics.com/blog/tag/yolanda+gonzalez .

The photo below is Yolanda's artwork on a Los Angeles metro train that was featured on behalf of the AARP. 

Paden, Lily (Week 2 Q&A)

 

Question: Is digital artwork more or less inclusive for artists compared to printed work?

Answer: Accessibility is a very common theme for questions about this reading. I am the third student that I have seen so far questioning how accessible or inclusive digital artwork is compared to printed artwork. Accessibility and inclusivity were the first topics to come to my mind when reading this article. Perhaps this is because the devices we view digital artwork on are incredibly expensive, yet they are still widely owned in the United States. It doesn't have to cost a single dollar to walk down the street and encounter printed work. I see printed work all the time living in Los Angeles. However, digital artwork may only appeal to an audience that is technologically savvy (which may only include some age groups, as another student- Madison Quiroz- pointed out). Digital artwork calls for another step that not everybody can reach. This applies to both artists and their audiences. Producing digital artwork can also be much more expensive than producing printed work, as computer services and programs can be extremely expensive. 

There are arguments on both sides that have logical points when considering the question of accessibility. Perhaps older generations or those who don't own a smartphone may be excluded from the world of digital artwork. Perhaps digital art creators only make content that can be seen by younger people who know how to get to it. 

However, there is another side to the coin. Digital artwork can also be the only medium of art that some people can access. For example, the United States continues to struggle through a very serious and long-lasting pandemic. Seeing printed artwork is not as common during these times, and digital work is much more accessible as the country continues to be shut down. Artists are able to create digital content for people to safely and privately access. 

Paden, Lily

 

Hi everyone! My name is Lily Paden, and I am a third-year World Arts and Cultures major as well as a Public Affairs Major. My pronouns are she/her/hers. With WAC being my primary major, I am focusing on the Visual Cultures stream. Over the last (just over) two years in the major, I have learned about Chicanx art and artists in a small amount of detail. From this course, I would love to immerse myself in the study and have a greater understanding of the works I observe from Chicanx and Latinx artists. I love how much artwork we study within the World Arts and Cultures major from so many different artists from around the world as it gives me an opportunity to learn about so many cultures in greater detail. 

I connect with many of the artists studied within the major as I am an artist myself, my medium being drawing and painting. I also have a passion for photography, although I think I have a lot of new skills to learn there. 

In regards to the reading, Printing and Collecting the Revolution, The Rise and Impact of Chicano Graphics, 1965 to Now by E. Carmen Ramos, the various graphics shown and described amazed me. I took a special appreciation to a print titled Libertad by Ester Hernandez, which features a "woman sculptor transforming the Statue of Liberty into a female." Within some of my classes, I have done lengthy and extensive research in topics revolved around gender inequality and feminism. These studies are very important to me, so I am not surprised this particular graphic caught my eye. 

I am looking forward to this class and am anticipating continued interesting readings and lectures! I also look forward to meeting and connecting with the other students in this course. Thank you!