Week 10: Reflection

 Wow this quarter has flown by! Week 1 feels like yesterday. I had never taken a Chicanx class before this one, which is pretty ridiculous considering I’ve grown up in Los Angeles and have been surrounded by Chicanx culture from a very young age. This class has brought me so much knowledge and much more of an appreciation for the culture as well. Before taking this class, whenever I thought about Chicano culture my mind always went to low riders, gang culture, tattoos, etc. That’s what I thought the word “Chicano” meant. However, after taking this class I have a much better understanding of what the word means. The struggle that Chicanx’s have to go through to claim and maintain their indigenous heritage outside of Western Eurocentric intervention is nothing less than inspirational.

 

In addition, another moment that really inspired me in this class was reading Yolanda Lopez’s book. Her Virgen De Guadalupe series where she uplifts herself, her mother, and her grandma was extremely progressive and a total power woman move. Her depictions of la Virgen de Guadalupe, despite how controversial they may be, really shows how much of an impact Chicana women are making within the art scene.

 

In conclusion, this class has been nothing but amazing in my eyes. I’ve gained much more of an appreciation for the culture that I am constantly surrounded by, as well as I have found some very inspirational Chicana women to continue learning about in the future. Thank you Profesora for the amazing quarter!

Week 8 Border Arte

In the essay “Border Arte” by Gloria Anzaldúa, the author paints a painful truth about Chicanos and their struggle with their identity. In a culture where your indigeneity was quite literally stripped away by European colonizers, it is obviously grounds for confusion. Gloria talks about her time at the Denver Museum of Natural History, where she visits the World of Moctezuma exhibition. She is led around different artifacts and cultural pieces, guided by a white mans voice on the Walkman. She considers this voice quite paradoxical to be guiding the viewer through an Aztec exhibition. Gloria also mentions hearing white viewers in the room with her gasp in horror and amazement as they view the “exotic” pieces. White people were also the curators of this exhibit, which is the only way it became a viable exhibit for the public. Why couldn’t it be presented by Chicanos, or indigenous people who actually have a personal connection to this art? This angers Anzaldúa, and rightfully so. In order for people like her to learn more about their culture, they have to look at it through a western and Eurocentric lens. This further confuses people of this culture, as they have been stripped of their history for years. First they are colonized and robbed of their indigenous heritage, then the same colonizers are taking control of the narrative that tells their history. It’s a sad ironic and unjust daily life of being a Chicano. 

 

It makes me very sad that Chicano border art and historical art is being culturally appropriated and misrepresented by the wrong narrators. I hope that in the future people from their own culture can be the curators of their lineages art work and artifacts. The exhibit in the Denve Museum depicted Aztecs as extinct, when they are very much alive and still practicing their culture. Hopefully in the future they can take control of their own narrative.

Week 7: graffiti

 Charles “Chaz” Bojorquez tackles the stigmas that constantly come with graffiti artists. They are often all labeled as gang affiliated, vandalizers, or simply just “not artists.” Growing up in Los Angeles, I have constantly been surrounded by graffiti. Many of it in my neighborhood of North Long Beach was gang affiliated tags. However, on the flip side of it all, there is a world of artistry and creativity that is often overlooked when people think of graffiti. Charles “Chaz” Bojorquez challenges this categorization by delving into his own identity surrounding graffiti.

 

Graffiti, in this essay, is more about finding yourself through the art. These artists are demanding and taking space with no boundaries. They are carving out a piece of land essentially, and claiming it for their creativity. It also comes as a place of pride for your heritage. Mexican Americans in Los Angeles used it to write down their names and ignite a sense of pride for their Chicano roots. I was also surprised that Bojorquez noted that it’s not just lower education folks doing graffiti. Many people with higher education degrees are also taking up tagging as a hobby and a way to express themselves. Another more recent development is that graffiti has been taken into the mainstream recently. Whereas in the 20^th century tagging was generally taboo and noted as thug activity, in recent years it has been featured in music videos, magazines, and on clothes. 

 

In conclusion, graffiti is much more than vandalizing property. It is a form of art that unfortunately villainized in most communities. However, this stigma has more recently been taking a turn for the better. It is being recognized as a cultural and creative outlet for many who partake, and has even taken a step into the mainstream world of art. Who knows what will happen to graffiti in the next decade!

Week 6: Rasquachismo

         Rasquachismo is a theory developed by Chicano scholar Tomás Ybarra-Frausto to describe an underdog perspective, or from the lower class. Rasquachismo is commonoly used to describe aesthetics present in the working class Chicano and Mexican art movements, which need to make use of what resources they have, regardless of how little that is. The term has been coined as an underdog using his/her inventiveness for survival. It’s term is rooted in the older term rasquache, which is the English form of the Spanish term rascuache, of Nahuatl origin. While the term was originally used as a classist term, the Chicano community has switched its meaning and used it for empowerment. It is now used to highlight the creativity and uniqueness within Chicano and Mexican art. While these people may not have had the best resources to create art, they managed to take everyday items and transform them into something beautiful. This is what rasquachismo is truly all about.

            I think the way I practice rasquachismo is through thrift flipping. I only shop for clothes that are second hand/vintage, as it reduces waste and helps combat climate change. The best part about finding these clothes is transforming them into something completely different than what they originally were. I cut them up, sew them, and sometimes even embroider them to suit them to my liking. I believe this is in the spirit of rasquachismo culture. I also see my grandma practicing this aesthetic through glass art. She takes leftover glass bottles that my family has used, smashes them up, and creates beautiful glass art. Sometimes it’s window glass, other times it’s just a piece of art she hangs up or sells at her local farmers market. I had never even heard of the word rasquachismo before this class, but now that I do, it’s apparent my whole family practices it.

Week 5: La Virgen De Guadalupe

I am not Chicanx nor Latinx, but I did grow up in LA/Long Beach California, so I have lots of familiarity surrounding La Virgen De Guadalupe. I mainly remember seeing her image outside of Latin owned liquor and grocery stores around the area. I didn’t grow up religious either, so I didn’t have any knowledge of what La Virgen stood for in a spiritual sense. I do remember feeling a sense of comfort whenever I saw her image, however. It always reminded me of home. I felt safe whenever seeing her image plastered on the side of buildings, as it made me feel like I wasn’t too far away from my home and family.

            In addition to the murals of La Virgen on the side of buildings, I also recall having 

Chicana friends in middle school and high school that had necklace pendants with La Virgens image surrounded by a rectangular outline. I remember thinking that the necklaces were beautiful, and I almost felt a little outcast, because I wasn’t a part of the Virgen De Guadalupe necklace club. Looking back on that feeling with the knowledge I have of Guadalupes symbolism now feels quite childish.

            All in all, I think La Virgen de Guadalupe has a beautiful significance to her, one that transcends across cultures. To the Chicanx and Latinx public, it may be a symbolism of spirituality and patriotism. To others who grew up in a Chicanx prominent neighborhood like myself, although her symbolism didn’t have any religious significance to me, she always made me feel safe and at home.

Week 4: Printing the Revolution!

    Watching the recording of the "Printing the Revolution" exhibition and panel truly left me speechless. During the panel, I was happy to see that many of the artists who have art shown at the exhibition were present and ready to answer questions. I was especially inspired by Oree Originol, who uses his art as a form of activism. By working closely with Black Lives Matter, Original is able to create portraits of the victims that fell at the hands of police officers. Working closely with the victims family was something that I found very special about his work. Since he works with the people who were closest to the victim, Original is able to capture their heart and spirit more genuinely than if he were just copying photographs.

            Another striking moment was how much the artists said they pulled inspiration from their families and cultures, especially their elders. The mentioning of ancestors occurred by multiple artists, alluding to a strong connection with their family and cultural history. 

            Yet another memorable moment during the panel was when Ester Hernandez spoke with Delores Huerta. Huerta said something that really stuck in my mind after the panel. She mentioned that is it important more Chicanx artists to make self-portrait art because Chicanas are often portrayed in media as bad people. Chicanas are often depicted as either women we should feel sorry for due to their cultural environment, or women we should be scared of for the same reason. Through self-imaging, Chicana women may have the opportunity to change the status quo of what the mass media views them as. This is extremely important.

            All in all, the exhibition and panel was full of inspiring and important moments. I found myself being completely immersed into each of the artists world as they spoke or answered questions. This exhibit is very meaningful and impactful.

Week 3: Veronica Dimitrov

    Veronica Dimitrov is a photographer and painter based in Long Beach, California. Since 2016, she has curated multiple art shows under her art collective, Honey House Art, allowing for a blend of professional and amateur artists to show their work alongside her own. Honey House Art has put together events emphasizing the art and music of Long Beach including printed zines, interactive online zine collections, and art shows at venues around the city. Ultimately, Honey House wants to drizzle some more sweetness into the community by pollinating the world with up and blooming art. Besides her art collective, Dimitrov’s art has been shown in various Southern Californian galleries while branching out in 2018 to show photographs at the CICA Museum of Gimpo, South Korea. Her work often takes a dreamy look into identity and its relation to the self and surrounding environment. Portraits, abstract art, and political metaphors all manage to have an outstanding presence throughout her many pieces of art. Her ability to capture an emotion or feeling in a portrait is outstanding. We are immediately taken into the subjects psyche, surrounded by the energy she captures in her work.

Exhibitions: 2020 Can’t Stay In — West Hollywood, CA

2020 Art Clout USPS Project — Long Beach, CA

2020 Burbank Creative Arts Center — Burbank, CA

2019 Tag Gallery: My Youth — Los Angeles, CA

2019 Let Me Eat Cake — Los Angeles, CA

2019 Don’t Take Pictures Magazine: Dive In — online exhibition

2018 Snacks Emanuel — West Long Beach, CA

2018 CICA Museum: Concept 2018 —  Gimpo, South Korea

2018 Honey House Art #3 — Long Beach, CA

2018 Jewish Women’s Theatre: Guilty Parties — Santa Monica, CA 

2018 ShockBoxx: Naked As A Daisy — Hermosa Beach, CA

2018 Artists Garden: Spring Exhibit — Long Beach, CA

2018 Expo Arts Center — Bixby Knolls, CA

2017 Golden West College Spring Art Show — Huntington Beach, CA  

2016 Honey House Art  #2 — Long Beach, CA

2016 Troptastic Art Show — Long Beach, CA

2016 Honey House Art #1 — Long Beach, CA

2015 Golden West College Holiday Art Show — Huntington Beach, CA

2014 Renaissance High School Senior Art Show — Long Beach, CA

2013 Art Exchange Holiday Saloon — Long Beach, CA

References: 

https://www.honeyhouseart.com/about

https://artslb.org/artists/veronica-dimitrov/

Week 2: Zapata

 Question: Is the newfound embrace of digital art taking away from old school/traditional practices?

   
Claudia E Zapata's article, The Rise and Impact of Chicano Graphics, 1965 to Now, shows how technological advances in art can be embraced rather than dreaded. Being able to shift with the advances as the masses do can even increase audience turnout for their art as well. With how fast technology is advancing on a day to day and even hourly basis, it is nearly impossible to escape. Whether it's in art, media, phones, or apps, updates are constantly happening. While Zapata was able to show the positive side of these factors, I found myself being concerned about the more traditional art practices, such as museums. Art is so much more accessible in our current times, with anyone being able to look up a specific art piece in the span of seconds on google. Has in person art-viewing lost it's purpose?

            While new generations perhaps may be less likely to attend museums and art exhibits, I think Zapata makes a great point in the embracement of these advances. Especially in the uncertainty of the future of in person exhibits (due to Covid-19), using digital art to an artists advantage is a very important step. It is very easy to dismiss change and try to revert to old ways of thinking/doing, but in the process of that we are completely alienating an entire possible audience. Digital media inspiring Chicanx artists to try new ways of engagement and creativity is extremely inspiring. They are able to experiment with new forms of creating art, as well as able to engage with a much larger audience since the viewing isn’t confined to just in person viewing. Overall I think it is easy to criticize digital artforms and how they can change the history of traditional forms of art, but instead we should be listening to Claudia E. Zapata and finding all the ways it can help elevate these artists for the better.

2021ParryMiya

 Hi! My name is Miya Parry and my pronouns are she/her. I'm a political science major with an emphasis on political theory. My research interests include the history of concentration camps on different ethnic groups in America, and how each group has been affected by them. Intergenerational trauma is something that needs to be talked about more often, in my opinion. I'm interested in this class because I don't know much about Chicanx/Latinx artists, and would like to learn more. Growing up in Los Angeles, Chicanx culture is a big part of the environment of the city. I feel learning about the history of some of these artists is essential.