Robles, Gissel (Week 10: Reflection)

For this last blog post, I wanted to reflect on all my favorite moments during the span of this course. When I signed up for the class, I didn't really know what to expect because it was essentially my first class that the curriculum was based on by art/aritsts and Chicanx/Latinx artists at that. I can now name far more artists than I could in the beginning of the quarter which is a great improvement in itself. I really enjoyed watching the “Taking Back The School” documentary; I felt that it was a great inclusion to this class because it really tied into the material we were learning. I also loved learning about rasquachismo as well; I never heard of the term before this class, and I’m so glad I do now. Furthermore, I really liked our conversations we had about La Virgencita. Although I grew up in a Catholic household my entire life, was baptized, and constantly surrounded by La Virgen de Guadalupe, I thought it was amazing to see different versions of La Virgencita coming through, for example, Yolanda M. López’s piece Eclipse. She created it because she was “exploring representations of womanhood…She was not satisfied with the popular images within Mexican American communities and those promoted by the media” (Davalos, 82). It certainly made me happy to see and learn about that because I love to see the patriarchy getting challenged and torn down. Lastly, I think my favorite part was being able to focus on one artist (Chicanx/Latinx) and learning about their works of art and who they are. I think there are so many talented individuals who deserve their recognition and with this project, it makes it possible by creating a Wiki page for them. Overall I really enjoyed the material that was presented, I am much more knowledgable in the subject now, and I look forward to taking more classes like this. Thank you for a great winter quarter!

Robles, Gissel (Week 9: Chicana Futurism)

For this week's reading, I will discuss "Deus ex Machina: Tradition, Technology, and the Chicanafuturist Art of Marion C. Martinez" by Catherine S. Ramírez. In this piece, she introduces an exhibition called Cyber Arte that consisted of four artists and the works represented “elements traditionally deĀned as ‘folk’ with state of the art computer technology” (Ramírez, 146). Amongst those artists was Marion C. Martinez, an Indio-Hispanic artist from New Mexico. Martinez’s art exemplifies Ramírez’s concept of Chicanafuturism very closely as most of her work uses technology from the present while simultaneously reproducing traditional folk art. One example is Oratorio a la Virgencita (2000) where Martinez creates a new vision of religious icon by using circuit boards to recreate it. Furthermore, Ramírez adds, “In short, Hispanos have been excluded from the world of science, technology, and reason…” (150) which in result leaves them in these stereotypes people believe in. Chicanafuturism on the other hand challenges these racist, classist, and sexist stereotypes that block Hipanas from reaching their fullest potential in fields of science, technology, and reason. Chicanafuturism is “Chicano cultural production that attends to cultural transformations resulting from new and everyday technologies (including their detritus); that excavates, creates, and alters narratives of identity, technology, and the future; that interrogates the promises of science and technology; and that redefines humanism and the human” (Ramírez, 157-158). In conclusion, Martinez’s art work embodies Chicanafuturism; she goes against the New Mexico narrative, she challenges nostalgic and romantic visions of the “Land of Enchantment” along with the residents, but she also “expresses, and transforms Indo-Hispanic traditions and Hispana-Chicana spirituality, and finally, underscores the malleability, dynamism, width and beauty of Hispana and Chicana cultural identity in the twenty-first century” (Ramírez, 159).

Robles, Gissel (Week 8: Looking Backward)

I decided to read Looking Backward by Shifra M. Goldman out of all the PDF essays that were of option to read. In this essay, Goldman explains how despite Chicano art reaching new spaces (galleries, private collections, museums, critics, and art periodicals) and barriers being knocked down, it is freshly making its way into the art world as acceptable while questioning the dedication these artists put in. The question(s) remaining ask, “Should Chicano artists, at the cost of economic security and possible artistic recognition, continue to express themselves artistically around the same matrix of social change and community service that brought their movement into existence? Or should they, now that some of the barriers are cracking, enter the mainstream as competitive professionals, perhaps shedding in the process their cultural identity and political militancy? Or is there a middle path between the two?” (Goldman, 436). She delves into these possibilities by analyzing Califas: An Exhibition of Chicano Artists in California and Murals of Aztlán: The Street Painters of East Los Angeles where she presupposes that it lies within the subthemes they show; Goldman says, “…both shows simply focused on an older generation of Chicano artists” (437) in which Judithe Elena Hernández counter argues against. In the Califas art exhibition Goldman contends that their choice of media indicates their stance and their contributions with art institutions displays how they aim to “create an alternative cultural structure in the face of mainstream indifference or hostility during the evolution of contemporary Chicano art expression” (Goldman, 437). Furthermore, she believes that the Murals of Aztlán, both social and aesthetic problems arise.

Robles, Gissel (Week 7: Graffiti is art)

I decided to focus on “Graffiti is Art” by Charles Bojórquez for this week’s essay. Being that he lives in a city where there are ‘multiple languages’ as he expresses, Bojórquez explains his personal experience with graffiti art. He says, “Your voice describes who you really are; it creates your identity. To an artist, your voice (identity) is your artwork” (Bojórquez, 117). To him, graffiti is just that; it is one of the players within the various languages. Graffiti is more than often seen in a negative light because of the ways it is portrayed to be which in result leads the public to the assumption that graffiti is always bad, and debunks any valid reasoning behind the creation of this art. In fact, it helps many young adults gain confidence by being able to express themselves, as Bojórquez mentions, “That is why I believe that tagging and graffiti will NEVER die” (118). Bojórquez started painting using a West-Coast “cholo” style before spray cans were introduced. He gives a run down on the Los Angeles graffiti scene and the history that essentially created a graffiti language in Los Angeles. Placas are what LA gangs write in old english font that includes a headline (name of the gang or street they represent), a body copy (names of gang members), and a logo (the individual in charge name) to pay homage for their neighborhood and has been done for generations on end (118). Moreover, as a Latino artist, skulls are also a heavily influenced in artwork as it is a depiction of more life, and not death that derives from the Aztec heritage. Nonetheless graffiti writers are constantly evolving in many different forms and gaining more acceptance but regardless, “…any drawn line that speaks about identity, dignity, and unity…that line is talking about graffiti and art” (Bojórquez 121).

Robles, Gissel (Blog Post 6: Rasquachismo)

Rasquachismo is an attitude or taste that artists take on as an expression that is often incorporated in their artwork. It is very prevalent amongst the Chicano community in both art and life as it is used as a response mechanism to limited sources. Despite the connotations rasquachismo displays to have, the creativity nonetheless displays fine art through a sense of lived reality. “Social class is a deĀnite indicator of being rasquache—it is a working-class sensibility (a lived reality)…” (86) and as I understood it, it is very common in middle class families. Similarly, when I read Yolanda M. Lopez, Davalos explains how Margaret, Lopez’s mother had an immense impact in her art. She taught her how to challenge gender roles and how the use of inexpensive materials can still produce fine art. Lopez took this as a way to help express her own sensibility as Davalos says, “Her use of unrefined materials emerges from her family’s rasquache sensibility” (14). Limited resources didn't stop her from making her art, it just turned her to a different style—being bold. It meant that every household item would be used, and no item would be thrown away, instead it would be recycled, for example discarded coffee cans used as flower pots. Much of the dominant culture rejected the bicultural life because it was deemed “un-American”. However in response, chicanos created their own idea of “wholeness and completion” and disowned their views. Like Lopez, using recycled materials allowed her to reject the Eurocentric notions of fine art because her art was fine art regardless of material cost. Nonetheless, the Chicano community was able to redefine the term. One example I personally have is using old butter containers and using them as tupperware. However, here I present a picture I found online that shows a bathtub being turned into an alter for La Virgen de Guadalupe. I personally thought the picture really embodied rasquachismo with all the use of recycled materials.

Robles, Gissel (Blog Post 5: La Virgen de Guadalupe)

 I grew up in a Catholic household my entire life, and by the age of two years old, I was already baptized. Throughout my life, La Virgen de Guadalupe was very much integrated into my everyday being. As young as I can remember, every family member’s house I visited always had a small figurine of the Virgen surrounded with candles, rosaries, and even pictures of lost loved ones. My grandparents created an alter for the Virgen de Guadalupe in their bedroom that has a Virgen statue and a cross with God in the middle to have a sacred space for prayers, and above all, to pay their respects. During my childhood, I would visit my great-grandma in Los Angeles frequently, and on the ride there as I would look out the window, I would always see murals and paintings of the Virgen on the walls of corner mini markets, restaurants, etc., there wasn't an empty wall without art. I was always amazed by the detail and the colors but I didn’t comprehend the importance just yet. However, as I got older, I realized the immense impact La Virgen de Guadalupe has amongst the Mexican community. One memory I do have as a teenager is going to La Placita Olvera on the 12th of December para la celebracion de La Virgen. They decorated with vibrant colors all over, and the painted mural was as visible as can be, you couldn't miss it. They also had hundreds of flowers placed in front of La Virgen mural, and it was such a beautiful scenery. Before the start of the celebration, my grandma cut majority of her hair off as an offering to La Virgin de Guadalupe. Later that day, we went to La Placita Olvera and started with misa. Following misa, we went to sing with the Mariachi to the Virgen for the remainder of the night to celebrate. Although I grew up surrounded by La Virgen de Guadalupe constantly, I think I’ve now grown apart from the heavy religious point of view that perhaps older generations hold, but regardless of that, I still feel and know that I carry a sacred connection with La Virgen de Guadalupe.

Robles, Gissel (Blog Post 4: Exhibition Preview)

¡Printing the Revolution! Exhibition Preview:

The Smithsonian exhibition on ¡Printing the Revolution! led by Claudia Zapata and E. Carmen Ramos, both of which we have had readings for during the course, previewed artists, historians, and even collectors. Although, I would love to talk about all artists in depth, my focus here will be on Ester Hernandez. Hernandez is a Chicana artist from San Fransisco who was essentially “born into the revolution” as she recalls. I find the phrase to still be very prevalent for many activists who have family members in farm work or what not because it automatically creates a deeper understanding of the ongoing injustices they try to fight against. Moreover, she was born and raised into a predominately women farmworker family that had a great impact on her upbringing. I loved hearing her give recognition to the “mujeres” that filled her with drive and motivation for the art she made then and even now. Furthermore, growing up, she saw women she knew and their families go to labor strikes, as well as seen her own father join the United Farm Workers Union in the 1960s. Regardless of the hardships her parent’s faced, they still loved to dabble in the arts, and always made sure there was time made for it because self-expression was very important. A life changing moment in where Hernandez changed her perspective was when she seen the arts being displayed at the United Farmworkers march. Ultimately, this all helped create an outlet to express her voice to be heard, after all, her parents always reminded her to always be proud of their culture and to always stand up for their rights, as well as the rights of their family and community. I also enjoyed to hear her talk so highly of Chicanas and reject the notion that we’re to be feared or have pity for, and unfortunately, we still continue to be portrayed in that manner. Overall, I loved hearing all the amazing people talk during the panels and felt that it was so wonderful that despite the pandemic, I was still able to experience this and see the art installation virtually.

Robles, Gissel (Blog Post 3: Depaz, Melissa)

Melissa Depaz, also known as Mel, is a Latina artist based in Compton, CA. She is best known for her style of work in digital art, drawings, murals, and paintings. At the age of ten, Depaz took her first art lesson(s) with her father’s friend who was an art teacher in El Salvador; those lessons were her first introductory to the “fundamentals of art” (Depaz, 2019 as cited in VoyageLA, 2019). In her middle school and high school years, she had a realization that this was a talent she obtained, and it wasn't until graduating high school that she began to take it more than a hobby. In middle school, her art teacher realized her persistence and dedication in the classroom and suggested the Ryman Arts program. Depaz states, “I was given free art supplies and college level art lessons at Otis College of Art and Design. I did this program for two semesters which consisted of me going every Sunday for a year” (Depaz, 2019 as cited in VoyageLA, 2019). She later went off to community college, but as of the most updated interview in February 2019, she clarified that she was taking some time off to focus on her art exposure, but still has plans to apply for her Bachelor’s degree in the near future. Her artwork has been displayed all throughout Los Angeles, while her most recognized piece is the Compton t-shirt. The tee has gotten so much momentum in the community that it is now sold in selected Footlocker locations, and she was also given the opportunity to work on a mural for the new Footlocker Compton location. Her inspiration in artwork springs from identifying as being a Latina raised in Compton her whole life. Depaz tries to give her city authentic recognition, she explains, “I began to make art about Compton because I wanted to help beautify the city in some way by making art of its landmarks” (Depaz, 2019 as cited in VoyageLA, 2019).

Melissa Depaz in front of Foot Locker mural; Compton, CA.

Sources:

Art & Life with Mel Depaz: http://voyagela.com/interview/art-life-mel-depaz/

https://meldepaz.bigcartel.com/about-me

Mel DePaz, Angel Once and Goop Massta create a beautiful mural for Compton at Footlocker's new store. A Film by @cliffordwilliam: https://vimeo.com/477296008

Foot Locker conversation about Compton with Viva La Bonita: https://www.instagram.com/p/CHgAzYQFJTy/?igshid=18mbh2zkl67q0

Robles, Gissel (Blog Post 2)

Question: Has the evolution of digital art/graphics dimmed the power of message(s) activists try to put forth or has it possibly done the opposite, and increased the distribution?

In “The Rise and Impact of Chicano Graphics, 1965 to Now” Claudia Zapata constructs a well written piece in which she explains the evolution of digital graphics and it’s impact amongst Chicanx artists and their activism. Zapata explains that the use of digital graphics has actually been advantageous for the spread of Chicanx advocacy by displaying new opportunities. A great example is Barbara Carrasco’s Pesticides!, the last sequence to her animated series that essentially advocated and brought awareness for agriculture and it’s dangers. During the same time, the United Farm Workers were undergoing the Wrath of Grapes Boycott, and with the display on the speculator light-board in New York’s Time Square for everyone to see, this method spread the message far more. Although the algorithmic oppression might negatively derail the spread of messages because it’s been described to have “embedded biases in automated decision-making systems” (Zapata 150), digital graphics has offered more advantages than before. When Web 2.0 was created, it brought forth a faster distribution process than prior times did, “For Chicanx artists, this electronic pipeline allows them to promote socially conscious art that creates a shareable database for political zeitgeist, speaks to immediate and contemporary moments, and acts as a form of advocacy and pedagogy” (Zapata 138). Social movements have gained tremendous momentum, and during these unprecedented times, it created one of the largest nation-wide protests to occur, and although the movement Black Lives Matter is not new, social media has helped shed light upon it, and spread the message out. Oree Originol, the creator of Justice for Our Lives and artist who works on portraits of individuals who were wrongfully killed by police is a great illustration of exhibiting digital art whilst being an advocate and enforcing action amongst people on social media where in most cases, art is now distributed through. All in all, the evolution of digital arts has been an immense support for Chicanx artists even with its flaws that need fixing.

Robles, Gissel

Hi everyone, 

My name is Gissel Robles and my pronouns are she/her/hers. I am a 3rd year transfer student from Pasadena City College, and will be graduating by Spring 2022. I’m a Sociology major with a minor in Chicana/o Studies, and hope to either work in law as an immigration lawyer or as a social worker, specifically with black and brown youth in the future. At my previous college, I took a Psychology Chicano course in which I began to realize I was missing out on some great knowledge. As soon as I found out UCLA had a minor in Chicana/o Studies, I immediately declared it as my minor. Although I don’t have much interest in research, last quarter I took my first Chicana/o research methods course and worked on a research project that focused on understanding first-generation student challenges in higher education in comparison to their continuing-generation peers. I feel that both Sociology and Chicana/o Studies go hand in hand with the career work I’m trying to pursue in the future therefore it’s my perfect match. I’ve personally never taken an art class past high school, but I thought taking a Chicana Art course would introduce me to a whole new area that I could potentially end up loving and incorporating into my life now and in the future.

This week’s reading ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now by E. Carmen Ramos, I found to be very interesting and I learned some new things. Yolanda Lopez’s recreation of Who's the Illegal Alien, Pilgrim? really stood out to me the most because the whole narrative of “illegal aliens” in this country is far from the truth considering their land was wrongfully taken away, and I’m so glad they challenged historical narratives. Unlike other museums, the Smithsonian American Art Museum contains various artwork from Chicanx artists and I really love that because it’s not a very common thing you come across at art museums. I really look forward to learning more in this class, and this piece of reading already has me very engaged.