Wk 10 Blog Post- Reflecting on Chicanx Art and Artist- Nepantla

It was difficult to pick one specific topic or theory to focus on because there were so many that really inspired me and resonated with me. If I have to choose one, I would choose week 8's reading on Gloria Anzaldua's theory of Nepantla. To be in between two worlds, that Chicanx often find themselves in. Having to juggle these identities, while also rejecting the ones that have been imposed on us or passed down to us. We also have this burden as Chicanx to carry on a history and preserve a history that has been forcefully stripped from our ancestors, through colonization. Therefore, feeling this need to express that representation and history through our work or artwork, but also not wanting to be forced to only be that, which can be an in between state as well.  So much of my Chicana Feminism has been rooted in my indignity, therefore Anzaldua speaks to a part of that identity.  

Overall there was a lot of enlightening topics like rasquachismo or learning about graffiti artist and muralist and how they both can be seen as a form of art and protest. Although, the final for the class was to present on an artist of our choosing, that put some pressure on me as a student, I really enjoyed learning about other artist through my peers’ presentations. I felt I learned just as much from them then I did from the professor. I have been looking up many of the artist mentioned in the presentations and this class has definitely made me want to follow Chicana Art and Artist more. I feel saddened that I was not exposed to Chicana artist and art. The fact that I could name more male Chicano artist then women was a problem that I myself did not even know. Because they play a very big role in our culture, identity and even in our social political movements. 

Week 9- Chicana Futurism

I had never heard the term Chicana Futurism and prior to reading the article, “Deus ex Machina” by Catherine S. Ramirez I could not imagine what it represented. Ramirez defines it as reproducing things that represent Chicanx cultural identities from the use of science and technology. This can be in a literal sense too, in which actual technology gadgets can be used in the art. Chicana Futurism was another way to challenge a long history of Latinos being excluded from many things including science and technology. In addition, the exclusion was a result from classist, racist, and sexes stereotypes that was also challenged in the art. Ramirez writes about Marion C. Martinez, the “folk” artist that took technologies and included them into their art and science and technology discourse. Marinez used discarded pieces of tech and included them into her work in which she portrays the “santos” and other spiritual figures. 

One thing I’d like to discuss is the term primitive as it pertains to Latinos. The article discusses the exclusion of Latinos from technologies under “The Land of Poco Tiempo” and focuses on New Mexico. Ramirez writes about Latinos in rural areas in which the areas are just pieces of land that Latinos occupy and there being a disconnect to the land and nature, as opposed to the Native Americans that are connected. As a result, the spaces they occupy are isolated and separated from the use of science and technology. Therefore, associated and stereotyped as wild or primitive. It made me think about our ancestors in Mexico, that were also considered ‘primitive. for example, the Aztecs they had some advanced technologies like the creation of the Aqueducts that provided fresh water. The pyramids that are strategically placed that required math and science. Although Martinez work stems from their background and focuses on new age technologies in their work and I understand that the technologies are more advanced today, (therefore important to have access to), I thought it was also important to remember our past and how advance they were. 

Week 8- Border Arte- Nepantla, el Lugar de la Frontera

Gloria Anzaldua opens up with their experience going to the Denver Museum of Natural History for the opening day of Aztec: The World of Moctezuma. They express their disappointment in the white tour guides that are the ones leading conversations and ‘teaching’ others on the Aztecs. It is another form of appropriation and colonizing. Gloria discusses our duty as Chican@s and the burden we have to carry on the history, identity that were stripped away from our ancestors, and not allow popular culture or white people to tell our stories. At the same time, we also have a duty to not appropriate the culture. This leads her to talk about being "en nepantla”. This Nahuatl term means to be in an “in between state”. There can be many different ways a person can find themselves “in between”. For example, the Chican@ identity was established with this idea of being in between these two cultures and not identifying with solely one. We have ties to both sides of the ‘border’. We also have either double or more languages and sometimes find ourselves in between the two, which Gloria often does in her writing with her uses of Spanish words or phrases.  She uses Chican@ artist that are border artist, and their struggles to not fall into popular culture, but at the same time needing to make money. It resonated with me because of my work life. I’m attaining a degree in order to work or continue to work in this institution because it will be a necessity for me, in order to pay my bills. But at the same time, finding it difficult to remain true to myself and my identity. If I remain true to myself then I am creating space for others to be a part of the institution, especially now since many organizations are attempting to ‘diversify’. But, how can the two co-exist or can they not as long as our bosses are not representative of our culture or race.  

Week 7- "Space Power and Culture"-Graffiti and Visibility

Living in Los Angeles you see graffiti in many of the working-class communities. Living in East Los Angeles, I see both graffiti and murals. What I found interesting about the argument that was posed, by Marcos Sanchez-Traquilino, was that the two were and are not mutually exclusive. Something that I myself have thought of; that graffiti or “placas” and murals were two different things. Murals being the art and also political while graffiti not being political, however I did consider it an art form, but it was also where it was placed that determined for me whether it was art. But what was argued in the chapter was that one was interdependent on the other. The idea for murals came from graffiti. It was appropriated from graffiti. Before there was a political consciousness that erupted during the Chicano movement, there was graffiti that represented a community that were asking for the same visibility the Chicanos were during the Chicano movement. Even though the youth gang individuals did not articulate the message the same, they were also a part of a larger process that produces these street gangs. Their families and communities are oppressed, and excluded from opportunities and resources, therefore become invincible. Their graffiti is a form of protest, and outcry. Subconsciously asking for the same thing the people in the Chicano movement asked for. They created a space that they called theirs, and added their names, or identities to create visibility. As the writer mentioned, it is not to glorify the gang lifestyle, but one must understand the outside forces that causes gangs or ‘crime’. Gangs or crime is not inherent in the Chicano community, but it is created due to lack of visibility, so what ends up happening is people will find their own way to create visibility.  

Week 6- Rasquachismo

Rasquachismo means things that include or are a part of everyday life for working class people. There are many layers and elements to Raquachismo. It can be being resourceful and reusing items for a different purpose. It can also be attitudes or behaviors. I first heard the term rasquache when I was at the Beach once and my dad had cut up some pants to use them as shorts at the beach, because he did not have any. Then while at the beach used his pocketknife as a tool to cut some of the vegetables we needed for our lunch. One of my relatives made the comment and said it to my dad. I did not know what it meant, but it did come off as a negative term. When I heard the word again it came up in my Chicano Theatre class and I was not sure of what the term meant, but I said it was a negative term, I associated it with the slang term often used in my neighborhood, ‘Ghetto’ (and I understand the issues with the word). However, in that theatre class I learned about how Theatro Campesino, with Luis Valdez, original performances were rasquache. Because they were a traveling theatre that set up a tent (where Carpa came from) and just put on a show with the limited resources they had. They had no ‘real’ actors because the people in the Actos were actual campesinos. They did not have many props or costumes and used makeshift signs to determine characters. Although they did not have the resources, they did not allow that to deter them from the end goal, which was to spread a message and awareness. 

Rasquache can be reusing the pasta glasses and mole containers as drinkware, which is what I’ve done. It can also be using an old chair as a plant stand, to keep them off the floor and away from my neighbors’ dogs (See Picture). I did not want to go out and buy more plant shelves and holders because it is not cheap for the amount of plants I have, also I can save that money for when have my own house, so or now I’ll do with what I have, it doesn’t take away from the growth and care of plants.  

Week 5- The Virgin Mary

I grew up Catholic; we practiced it, went to church and I went to Catholic school for two years for my first communion. The image of the Virgin Mary was everywhere in my house. I was raised by my grandparents and they always talked about respecting her and praying to her because she was the mother of Christ. They always said have a lot of faith in her, to believe in her and she would guide us like a mother would. My grandparents respected her like many Mexicans part of the catholic church do. So much so, they made sure to take us to the Basilica de Guadalupe in Mexico City so we can all pay our respects to her and the church that was dedicated to her. As a child I was very moved by her story, I related her to the matriarchs in my family that I loved and appreciated. 

As I got older and began to understand things a lot more and question things, I began to see the contradictions in my family.  This woman was held to the highest regard, but all the other women, for the most part had these secondary places. The role of women on my maternal side was very traditional in terms of how the church mandates. The man was the head of the household, he was to be respected and the woman’s role was to do as he said and raise children or be the supportive wife. Although I saw the women in my family as strong, there was a lot of things they put up with because that was their ‘role’ as women and wives. 

As I began to educate myself, while figuring out my identity and my feminism, I rejected the church completely. I had to unlearn a lot of unhealthy and unrealistic things that were taught to me, in terms of what it meant to be a ‘woman’. Things that put me in vulnerable positions and many other women for that matter. I learned about our indigenous ancestors and the goddesses and deities. I was able to find strength through their stories.  Although I rejected the church, I never rejected the Virgin Mary completely, but I did redefine her. Maybe it was because of my conditioning, that I can’t seem to completely reject her and her image. But I see my grandmother and mother through her, but if I could recreate her (be more artistic) I would draw my mom’s old housekeeping uniform on her, because my mom’s strength and history is something that is also praised by me.  

Blog Post Wk- 4. Denver Art Museum Panal

It is always a privilege to be able to be in a space that allow me to learn more about my history and identity, through art. The Denver Art Museum held a panel on January 19th, 2021 to introduce their new exhibit and invited three artists to speak on their art and how it relates to the exhibit. The theme was and I quote “How Mexican Modernism is relevant today?”. They were able to discuss this and break it down into 3 main themes, which were; Appropriation, reclamation as tools of empowerment public arts as activism and layered identities. The three artists were Pablo Helguera Damion Ortega and Alma Lopez. The two artists and their art that spoke to me the most were from artist Pablo Helguera and Alma Lopez, which is who I will focus on. 

Pablo Helguera's work was inspired by muralist and performative art. His art piece that focuses on “dying languages” was very touching for me. He highlighted that there are at least 50 spoken languages in Mexico, and he traveled around Mexico to capture languages that were going extinct. Most languages that came from the original peoples, indigenous people of Mexico. He interviews the people and records their voices on an old also very historic and dated tool, the phonograph. The result is these wax figures that have captured and recorded their voices, in their native language. This visual representation that captures people’s identity and language that with time is being erased. You can visually see the wax figures, almost as tombs or something similar in which one day some of those will be completely extinct. I made a connection to old graveyards, where you see tombs that represent a person who once lived and is now ‘extinct’. It was very moving at sad at the same time to know these languages are on the verge of ‘dying’ as well. A piece of one’s history is being captured and will be held in a resting place and captured in these wax figures. 

Alma Lopez work is and discussion was one that helped me get in tuned with my ‘Chicanima’ and feminism that is outside of the larger frame of feminism, that is intersectional and centered in my Indegeneity. She has been able to recreate art that include prehistorical stories and include her own identity. I grew up Catholic and when I began to question institutional religion, I struggled a lot with my role as a female within the church and in life but wanting to break free of that. I went to catholic school and my family was very traditional catholic. In the catholic church we are taught that women are the descendants of Eve, and Eve came from man, Adam.  But we know it is biologically impossible, and all human beings come from women. Through my Chicana feminism I learned about the powerful goddesses that were once worshipped by my ancestors. like Coatlicue. Therefore, hearing Alma's work on Coyolxauhqui and her rebellion against her family and she is the symbol for Chicana feminism was touching and also a new piece of information for me that further empowers me. 

Week 3- Artist Anna Valdez

The artist I will focus on is Anna Valdez. They are from Sacramento California and are based out of Oakland California. Anna received their Bachelors in anthropology and also went to Boston University and received their MFA in painting in 2013. Their background in Anthropology in combination with their love of their community have been the  driving force and inspiration to her artwork 

Although she does a lot of paintings her artwork has a wide range. Their artwork includes drawing, painting, collages, ceramics, printmaking and several other forms. Anna’s wide range of art form is due to making a connection to materials, objects and cultural influences. Anna’s artwork has been inspired her community in California. She describes her work as somewhat as autobiographical. Annas art is representative of her life and other things that surround her and her community. For example she will incorporate random objects that one may find either in the street or in their house. The bright colors of their art, as I see it, emulate and is similar to the Latin@ textiles, for example similar to Mexican embroidery. Anna likes to center and include plants into her artwork, and it is very representative of the love of plants our ancestors or grandmothers had, that is passed down to us. 

Sources: 

https://canadacollege.edu/news/index.php?postID=4670143316827062306&id=5670366946617807975

https://www.vice.com/en/article/wnpv9y/paints-soothing-flora

https://www.erikabhess.com/post/painter-anna-valdez-the-presence-of-painting

Chicana Art and Artist & The use of Technology (Week 2)

Q: Can technology be another avenue and platform for Chicana art and artist outside of the male dominated, male focused traditional art world? 

A:    Due to patriarchy and Eurocentric focused art, cultural art and female art and artist have historically been excluded. Technology has been another avenue for Chicana and Latina art and artist to share their work without having to rely on the traditional exclusionary ‘art world’. Not only can technology be beneficial, but technology is constantly changing and growing, therefore if an artist is well versed with technology then their work can be relevant for a long time. 

    Art oftentimes displays, show, or speak on current political and social climates. Although technology is not a political or social tool, it can be used as a platform for expressing political and social issues. Therefore, art should also adjust to the changes and the increasingly use of technology and internet.  

    I do not agree with Lev Manovich in which they state that the art with the use of technology is unoriginal. Many artists are inspired by other artist that share common interest or other artist that came before them. The originality comes from what they make of the art and how they make it their own. Also, not all artist can paint or draw like traditional art and artist, and technology expands what can be categorized as art. Technology is inclusive even to women, even if it was not the intention of technology. For example, Alma Lopez was able to create an image of La Virgen de Guadalupe that not only challenges the role of institutionalized religion in terms of gender, but also identity. They were able to create a Virgin that represented her and her queer identity. Not only did technology allow her to create her art, but it also allowed her to share her art with other people and friends. 

    As I mentioned before, some art forms can be relevant for a long period of time when using technology like mentioned in Web 1.0. For example, Chicana artist Jacalyn Lopez Garcia created a website, Glass House, that was an interactive site where one can see photos of her family, and art. I would argue she was ahead of her time. Today due to the current climate and pandemic everything is being switched to online and virtual. Museums and performances are all done virtual and Jacalyn Lopez website is an example of the many types of art and platforms currently being used. 

Some context on the photo: Today, everything is being done virtually and online. The photo is from an article in which it discusses museums to visit virtually. I’m glad I was able to read up on Chicana Artist that found their own way, that is now more relevant than ever. Even the Smithsonian is offering some exhibits virtually. 

Santos, Evangeline

Hello everyone! My name is Evangeline Santos, my pronouns are she/her. My major is Sociology and I’m pursuing a minor in Urban Regional Planning. I am a second year, non-traditional student, and transferred from East Los Angeles College and will be graduating this spring 2021. My focus is on criminal justice and reform. At my time at East Los Angeles College I started a club with other students for formally incarcerated students and other non-traditional students, and our goal was to help guide them and give them the tools to be able to navigate school. My goal is to eventually go to Law School after I graduate, still have not figured out all the logistics on that. 

I have always been interested in all forms of art. I started playing an instrument at a very young age. Joined art clubs in school. But there has always been this disconnect with the art I was involved in before going to college. From the music we played to the art we studied, in terms of identity and finding space within the arts. I currently work at the Music Center of Los Angeles and we are also neighboring the Broad Museum and MoCA (pre-remote work). Although it has been a privileged to be able to work and be in a space that encompasses art, I still oftentimes feel like a person on the outside looking in. Not included or identifying with the art, along with my community. 

Which is something this week’s reading, “Printing and Collecting the Revolution” by E. Carmen Ramos, touched on. The lack of representation in SAAM. I often see this in museums when they do not have exhibits or instillations from BIPOC. Or they have instillations from BIPOC but the leadership and/or employees do not represent the art or artist. Another thing that resonated with me is that there is space for everyone in a “revolution”. We see that with the graphic artists and their impact on social/political issues. 

I just took a Chicanx Theater class last fall and we learned about Chicanx Theater and its connection to the United Farm Workers, strikes and union. The artist and their art were mentioned in this week’s reading, so it was nice to read about the graphic art side of the movements and see the art. I am looking forward to learning more about Chicanx art and artist and expanding my knowledge on Chicanx art.