Week 10 - Reflections

When I saw a class was being offered about Chicana artists I knew there was no way that I could pass up the opportunity to enroll. Even while pursuing a Chicana/o and Central American Studies minor, Chicana/o art is often glossed over and not much time is spent dedicated to the subject alone. This course really felt like a great starting point, offering a historical foundation about what Chicana/o art was and what it is evolving into. What I came to realize is that Chicana/o art itself really parallels the Chicana/o identity. Chicana/o art, like the identity of a Chicana/o/x, really blossomed out of a strong passion for social justice, as well as a reclamation of one’s roots in the face of white supremacy and racism. While early Chicana artists really emphasized these points in their artwork, often offering their art making skills for political posters to further the goals of a given movement, I feel that Chicana/o/x art in the 21st century is really expanding definition.

As a Chicana artist myself, I often walk the line and feel torn between being a “Chicana artist”, or one who uses their artwork for socio-political issues and explicitly depicts activist-themes in my work, and being a Chicana who creates art. I loved discussing issues like this with peers in the class who also felt this same struggle between making art for their community or a certain audience, and those who just wanted to create art as a creative outlet. Although this class was online due to Covid, I felt really lucky to share space with other Chicana/o/x artists who are passionate about the same things that I am. I hope that eventually Chicana/o/x art will take up more space in both Art History and Chicana/o and Central American Studies discourses.

Week 9 - Chicana Futurism

Catherine S. Ramirez’s essay Deus ex Machina examines what is called “Chicana Futurism” specifically with reference to the art of Marion C. Martinez. 

Marion C. Martinez is an Indio-Hispanic artist who was born and raised in New Mexico. Her art, which features mixed-media sculptures of Catholic images often created with discarded computer hardware, was featured in Cyber Arte, an installation at the Museum of International Folk Art (MOIFA) in Santa Fe, New Mexico. To get a better idea of the kind of work that was exhibited in this show, the subtitle “Tradition Meets Technology”  offers a great insight into how artists in this exhibition combined new technology and modes of creation with what might be considered “traditional” Mexcian/Hispano iconography. 

The work of Marion C. Martinez featured in Cyber Arte “underscore the effects of science and technology on New Mexico’s environment and people” (Ramirez, 152). These works, made with computer parts, wood, and other materials, are heavily inspired by Martinez’s surroundings. Martinez herself describes her art as “folk art” since she gathers materials and objects from around her in order to create. Change is often a theme highlighted in Martinez’s work, as well as the focus on cultural iconography such as Our Lady of Guadalupe and other holy personages. 

In her piece Oratorio a la Virgencita, she pictures La Virgen in an oratorio. This piece is constructed with wood and decorated with carved/painted lunette pieces, which is a feature of many New Mexican retablos. In this piece as well as many others, Martinez fuses traditional practices and methods of art making with contemporary materials and approaches. Ramirez notes that “Oratorio a la Virgencita shows how Martinez changes not only the materials she uses but also the subjects of her pieces” (Ramirez, 154). Surely, Martinez’s work fits into the canon of Chicana Futurism, as she combines both new and old technologies and cultural traditions to create new and interesting pieces

Week 8 - Gloria Anzaldua “Border Arte: Nepantla, el Lugar de la Frontera”

 

In Gloria Anzaldúa's essay “Border Arte: Nepantla, el Lugar de la Frontera” she reflects on her five hour museum trip at the Denver Museum of Natural History to see the opening of the exhibition Aztec: The World of Moctezuma. In seeking to connect with this part of cultural history that Chicana/o artists often engage with, Anzaldua is confronted with questions about appropriation, reappropriation, colonization, identity, and the borderlands to name a few. 

The Borderlands and Border Arte, as Anzaldua describes, might deal literally with the United States/Mexico border or it could more broadly represent the variety of in-between spaces that us as Chicanas/os inhabit in terms of our identity. “Nepantla”, or the Nahuatl word for an in-between state, is that liminal space that one crosses or occupies when moving from one place to another. This might take the form of an actual physical relocation, or a transition from varying social, racial, or sexual identities. This liminal space of ni de aqui, ni de alla is one that is common for Chicanas/os disconnected from their roots, seeking to connect in spaces such as the one Anzaldua explores in the museum. 

What is particularly engaging is her commentary on the space of the museum in its presentation of Aztec culture. She notes how this is modern day colonialism, as white museum educators cherry pick palatable aspects of this rich culture to regurgitate to (mostly) other white museum-goers. In doing so, they present these peoples and cultures as things of the past, not acknowledging the communities still in existence today. 

Anzaldua’s discussion about border artists and the various obstacles that they face. One of the major being to find ways to resist corporate culture while also securing its patronage and dollars. As a Chicana artist with a background working in museum spaces this really hit home. Museum spaces are truly founded on colonial ideals, and as a Chicana who resists these practices, it is frustrating to have to navigate these spaces in order to secure funding or a space on the wall. She notes how artists often have to engage in this “self-serving hustling”, however as she notices “for some, the hustling outdoes the art making.” This rings true especially now, when funding to the arts has been cut more than ever, where contemporary artists are hardly invested in, and where the art world continuously perpetuates a necrophilic obsession with artists only after they have passed. 

Week 7 - Graffiti Is Art

 In his essay Graffiti Is Art, Charles “Chaz” Bojorquez not only discusses the origins of graffiti art in Los Angeles, but also brings in his own experiences as a graffiti artist, weighing in on the controversial debate of whether or not graffiti is (or should be) considered art or vandalism. Bojorquez mentions that in mainstream news media outlets the rhetoric when talking about graffiti art is largely negative, equating it to “vandalism, destructive behavior, and meaningless scribbles” (Bojorquez, 117). Depending on where you might live, this polarization of graffiti as either lawless defacement or beautiful public art makes itself known through city efforts to either contain and erase graffiti or simply just allow it to be. In Los Angeles, these efforts may vary from city to city. While some cities may welcome this practice, other cities may be far more strict in enforcing anti-graffiti punishments, which makes this art-making practice especially precarious. 

Moving on from his discussion about graffiti as art or graffiti as vandalism, Bojorquez touches on the history of graffiti, and what attracts so many young people to graffiti and tagging. He states “For a young many (or woman!), graffiti is a personal voyage of trying to seek and/or manifest your self-esteem and self-expression” (Bojorquez, 118). Additionally, he talks about graffiti’s ties to gangs and its use as a way for individuals to claim their space in a given neighborhood or area. It emerged as a way to mark one’s presence and claim their identity while communicating this message to anyone who might pass.

My aunt (center right) with her friends and their tags

I was especially drawn to this essay because my aunts grew up taggers in the 90s here in Los Angeles. I loved when they’d tell me stories about getting in trouble at school for tagging on lockers, and how there were whole tagging crews. One thing that stood out to me was when my aunt mentioned that when they were teens in the 80s and 90s back before everyone had a personal cell phone, tagging became a way that they communicated with their friends. It allowed them to see who had been where, where they were going to be, and so on. The use of graffiti as a form of communication has been interesting to me since then. Additionally, growing up with friends who were taggers I became familiarized with certain individuals and their tags. There would be times when someone fell off the map for a while and then all of the sudden I’d see their tag blasted on the side of the freeway or building and got a sense of reassurance that they were alright and still doing their thing. I feel that artists still tag for many of the reasons Bojorquez mentions in his essay, and like Bojorquez I feel that for these reasons graffiti will never die. 

Week 6: Rasquachismo

 Rasquachismo can be defined as an approach to art making in which one “makes do” with what they have at hand. Tomas Ybarra-Frausto defines it as more of an attitude or taste rather than a specific style, as it is rooted in resourcefulness and adaptability. Rasquache art employs an underdog perspective and pre supposes the world view of the have not, it has a working class sensibility. Art that is rasquache often favors the elaborate over the simple, and it is common for rasquache art to have a profusion of textures, colors, as well as a plethora of materials employed. 

In my own personal artwork, my practice came out of a sort of rasquache approach. As a college student that was constantly working multiple jobs in order to support myself, not only was I always on the go but I also didn’t have a lot of money to pour into expensive art materials that would be used quickly. Ballpoint became a way that I could express myself creatively and make pieces of art with a tool that costs less than $0.10. Additionally, I appreciate that wherever I am I have everything I need to create a complete piece of art. While my art is not elaborate when it comes to colors, I do try to make my pieces elaborate, pushing the pen to new possibilities. I also feel that the pen is a lowbrow or “underdog” tool in itself, as it is not a tool commonly associated with art making or high art. Heavily inspired by the Chicana experience, many of my works deal with themes of loss, love,  as well Chicana identity and style. I'd love to continue to make art with other materials available at hand and see where that takes my art.

Week 5: La Virgen De Guadalupe

Growing up a Chicana in Los Angeles, the image of the Virgin was part of a visual vocabulary that saturated my life. My mother was Christian and my father Catholic, so I always recognized La Virgen being a key difference between the two religions. I remember going to mass and seeing a life sized statue of La Virgen at the entrance of the chapel, as well as depictions of her on prayer cards. I felt quite ostracized by both my parents religions, and often felt that the Saints and God rejected me since my values and ideals did not align with that of the church’s. I remember feeling that if La Virgen were a person in real life she would reject me for being too secular, for not believing in her son, and for going against what was taught in the Bible. I pushed her and her image away because I felt that she would not accept me or the path I chose for my life. 

It wasn’t until I took until a course with Professor Alma Lopez that she shifted the way I saw La Virgen. While reading her book “Our Lady of Controversy”, I remember Alma stating how she felt that the Virgen supported revolutionary movements as well as the Chicana female struggle. That made me imagine a Holy being whose views aligned with mine, who used their presence for the causes I was passionate about, even if it wasn’t necessarily laid out that way in the Bible. Since then, I see the Virgin in a very different way. I feel that perhaps if she was here in Los Angeles with me, she would accompany me in my activist efforts, supporting me and blessing me instead of pushing me away. When I think of her in this way I feel close to her. I feel like “Of course she would support my plight as a Chicana, she probably had the same struggles as me.” Now, whenever I drive around the city I look for her. I love capturing her image on tienditas that I pass, liquor stores, alleyways and wherever else she might appear. I take her image as a reminder to stay strong in my beliefs and to keep pushing for the world I want to see. 

Week 4 -"¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now" Exhibition Preview

 ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now is an exhibition presented by the Smithsonian American Art Museum that highlights poster prints and other media created by Chicana/o artists which address the political climate of the time. 

This exhibition is notable for being the first of its kind in that it presents the work of Chicana/o artists on a large scale in a museum setting. In a way this seems to canonize Chicana/o art in the realm of American art. In a conversation with Carmen Ramos, Tomas Ybarra-Frausto discusses the importance of this exhibition and the importance of Chicana/o artwork being held in the same regards as American art “because Chicano art is American art.” This statement sat with me for a while, because the preconceived notions I hold of what is considered “American” art have never encompassed Chicana/o art. Additionally, as a Chicana artist myself, my initial reaction was to reject this statement. I felt that traditional “American” art and ideals didn’t align with the values that I held as a Chicana, and I feel that a lot of Chicana/o art comes out of the struggles imposed by the “American” ways on our communities. However, I realize that these unique circumstances, and the fight for equity and justice within the U.S., is a force that facilitated the creation of the movements and art that characterized the Chicana/o community. 

One of the most interesting points that stuck with me was Ester Hernandez’s discussion of Chicana artists and the need to create visual images of ourselves. She notes that in media we are either portrayed as people to fear or people to pity, and that the act of self-representation can begin to tackle this misrepresentation. It is extremely important to have representations of Chicana/x’s by Chicana/x’s, and I feel that a lot of Chicana/x’s play with this idea in their work in an effort to create a more accurate representation of what it looks like to be Chicana/x. 

Week 3: Artist Selection - Zuly De La Rose (Zuly Garcia Diaz)

 ZULY GARCIA DIAZ 

Zuly Garcia-Diaz (AKA Sabrina Garcia) is a Los Angeles based photographer, art director, artist, and activist. Zuly grew up in South Los Angeles and aims to represent their community's culture and lifestyle. Although they have been practicing various art making forms for a majority of their life, a project that gained them much popularity was their photography for "Flores Politicos", which tackled issues of representation, body positivity, and beauty standards. Since then, their work has been featured in many news outlets such as Mitu, NPR News Latino, Mic News, and Hip Latina. They have participated in a number of group shows and continue to expand their work to new platforms. 

References: 

1. https://fierce.wearemitu.com/decor-get-inspired/feminist-latina-artists/

2. https://www.crenshawproletariat.com/

3. https://www.mic.com/articles/182932/gorgeous-photo-series-shatters-stereotypes-about-what-it-means-to-be-beautiful#.Uh8tlTSOU

4. https://hiplatina.com/beauty-standards-art/

5. https://medium.com/22westmag/zuly-de-la-rose-f49824a75715

6. http://voyagela.com/interview/meet-zuly-garcia/

7. https://www.22westmedia.com/magazine/arts/zuly-de-la-rose

Question/Answer - Claudia Zapata's Essay (Week 2)

Question: How effective are digital interfaces in making artwork more accessible to wide audiences? Does artwork that is shared via social media and digital avenues only cater to younger generations?

The internet and supporting technology is a fairly recent invention, and I would argue that those most well-versed in technological literacy are younger generations like myself, who grew up with schools that had mandatory computer classes. The recent influx of digital art and social media that helps disseminate art of all media leaves me to question, how effective are digital interfaces in making artwork more accessible to wider audiences? More importantly, is art that is created and shared exclusively via the internet exclude older generations who might not be as technologically savvy? How revolutionary are digital artworks if they are not accessible to those that either do not have access to computer and social media outlets, or are not well versed in using these resources?

  Claudia Zapata’s essay highlighted the ways in which various Chicanx artists have utilized emerging digital technologies to not only create art, but also disseminate and circulate art within their communities. Zapata highlights the recent digital revolution that took place in the 1980s - roughly only 40 years ago. She also notes that what characterized Chicano graphics or Chicano art is the two-dimensional works on paper that were easily disseminated (Zapata, 130). Zapata argues that digital software such as Photoshop or Adobe Illustrator has not led to the demise of Chicanx two dimensional works, but rather provided an additional outlet which allows artists to experiment and create artworks that can be easily shared through digital avenues such as social media or email. In her section titled “Web 2.0” Zapata argues that the emergence of Web 2.0, or the interactive web-based experience, created an electronic pipeline that allowed artists to share their pieces with a wide audience via the internet (Zapata, 138). However, what fails to be highlighted is exactly who these digital works are becoming more accessible to. While digital media might be more accessible to me as a twenty-three year old college student, I could not say the same for my seventy-seven year old grandmother. This makes me wonder about how truly accessible digital artworks are, and who they are accessible to. I would be interested in learning more about the effectiveness of digital vs. print artworks and the communities that each is more accessible to. 

Quiroz, Madison

Hi everyone! My name is Madison Quiroz (she/her/hers). I'm a fourth year transfer student with a major in Art History and a minor in Chicanx and Central American Studies. I started taking Chicano Studies courses in community college and fell in love with learning about my culture in ways I never had before. I soon learned that they were a great supplement to a lot of the art history courses I was taking, and when I transferred to UCLA I decided to take on the Chicanx and Central American Studies minor. While I don’t have any specific research interests as of now, I’d love to work for a museum, non-profit, or archive/research library that focuses on Chicanx and Latin American sources. 

As a Chicana artist, this course was especially appealing to me. I create art with ballpoint pens and a lot of my artistic practice includes traditional Chicano/a iconography. My artistic practice is closely tied to my culture, so much so that sometimes I don’t know what my art would be without cultural influence. I’ve taken art history classes that focus on Mexico or parts of Latin America, but never Chicanx artists, so I am extremely interested in expanding my knowledge about the kind of art Chicanx artists have created and continue to make. I feel that this course will be a great foundation to build upon for the work I hope to do, and I’m excited for the opportunity to learn about predecessors and the impact they’ve had. 

With regards to the reading, I thought the focus on social political art was especially interesting. This is often what comes to mind when I think about Chicanx art, with places such as the Center for the Study of Political Graphics coming to mind. I love how lots of the origins of what is now known as Chicanx art is rooted in social and political motives, often for utilitarian rather than aesthetic purposes. 

Overall, I’m very excited to take this course and (virtually) meet my peers and learn under Professor Alma!