44. What Do We Mean When We Talk about “Latino Art”?

Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Illustrations ix
4. Preface xiii
5. Acknowledgments xv
6. Introduction 1
7. Part I. Definitions and Debates
8. Introduction 12
9. 1. Looking for Alternatives: Notes on Chicano Art, 1960–1990 19
10. 2. Con Safo (C/S) Artists: A Contingency Factor 30
11. 3. El Arte del Chicano: “The Spirit of the Experience” 32
12. 4. Notes on an Aesthetic Alternative 35
13. 5. A Critical Perspective on the State of Chicano Art 37
14. 6. Response: Another Opinion on the State of Chicano Art 45
15. 7. Post-Chicano 54
16. 8. The New Chicano Movement 58
17. 9. Post-movimiento: The Contemporary (Re)Generation of Chicana/o Art 66
18. Further Reading 72
19. Part II. Cultural Reclamation and Vernacular Traditions
20. Introduction 74
21. 10. The Politics of Popular Art 81
22. 11. Rasquachismo: A Chicano Sensibility 85
23. 12. Domesticana: The Sensibility of Chicana Rasquachismo 91
24. 13. Chicano Humor in Art: For Whom the Taco Bell Tolls 100
25. 14. Points of Convergence: The Iconography of the Chicano Poster 104
26. 15. Graffiti Is Art: Any Drawn Line That Speaks about Identity, Dignity, and Unity . . . That Line Is Art 117
27. 16. Inventing Tradition, Negotiating Modernism: Chicano/a Art and the Pre-Columbian Past 123
28. 17. Negotiated Frontiers: Contemporary Chicano Photography 135
29. 18. Deus ex Machina: Tradition, Technology, and the Chicanafuturist Art of Marion C. Martinez 146
30. 19. Celia Alvarez Muñoz: “Civic Studies” 165
31. Further Reading 174
32. Part III. Bodily Aesthetics and Iconologies
33. Introduction 176
34. 20. Mel Casas: Redefining America 183
35. 21. Drawing Offensive/Offensive Drawing: Toward a Theory of Mariconógraphy 194
36. 22. The Pachuco’s Flayed Hide: Mobility, Identity, and Buenas Garras 208
37. 23. Writing on the Social Body: Dresses and Body Ornamentation in Contemporary Chicana Art 219
38. 24. Ojo de la Diosa: Becoming Divine in Delilah Montoya’s Photography 237
39. 25. Art Comes for the Archbishop: The Semiotics of Contemporary Chicana Feminism and the Work of Alma López 250
40. Further Reading 263
41. Part IV. Public Practices and Enacted Landscapes
42. Introduction 266
43. 26. The Enacted Environment of East Los Angeles 271
44. 27. Space, Power, and Youth Culture: Mexican American Graffiti and Chicano Murals in East Los Angeles, 1972–1978 278
45. 28. Pseudographic Cinema: Asco’s No-Movies 292
46. 29. Whose Monument Where? Public Art in a Many-Cultured Society 304
47. 30. La Memoria de Nuestra Tierra: Colorado 310
48. 31. The Donkey Cart Caper: Some Thoughts on Socially Conscious Art in Antisocial Public Space 314
49. 32. Public Audit: An Interview with Elizabeth Sisco, Louis Hock, and David Avalos 319
50. Further Reading 331
51. Part V. Border Visions and Immigration Politics
52. Introduction 334
53. 33. Border Arte: Nepantla, el Lugar de la Frontera 341
54. 34. The Spaces of Home in Chicano and Latino Representations of the San Diego–Tijuana Borderlands (1968–2002) 351
55. 35. Straddling la otra frontera: Inserting MiChicana/o Visual Culture into Chicana/o Art History 374
56. 36. Borders, Border Crossing, and Political Art in North Carolina 394
57. 37. Excerpts from Codex Espangliensis: From Columbus to the Border Patrol 402
58. 38. 187 Reasons Why Mexicanos Can’t Cross the Border (Remix) 406
59. Further Reading 410
60. Part VI. Institutional Frameworks and Critical Reception
61. Introduction 412
62. 39. Los Four 417
63. 40. MARCH to an Aesthetic of Revolution 420
64. 41. Resisting Modernism: Chicano Art: Retro Progressive or Progressive Retro? 423
65. 42. Our America at the Smithsonian 427
66. 43. Alex Rivera, Philip Kennicott Debate Washington Post Review of Our America 430
67. 44. What Do We Mean When We Talk about “Latino Art”? 434
68. 45. Chicano Art: Looking Backward 436
69. 46. Readers’ Forum Letter to the Editor in Response to Shifra Goldman’s Exhibition Review 440
70. 47. Readers’ Forum Response to Judithe Hernández’s Letter to the Editor 442
71. 48. “All Roads Lead to East L.A.,” Goez Art Studios and Gallery 444
72. 49. From CARA to CACA: The Multiple Anatomies of Chicano/a Art at the Turn of the New Century 455
73. 50. On Museum Row: Aesthetics and the Politics of Exhibition 470
74. 51. Strangeways Here We Come 484
75. Further Reading 495
76. Glossary 497
77. Contributors 501
78. Index 509
79. Acknowledgment of Copyrights 531