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Chicano and Chicana Art

A Critical Anthology
  • Edited by: Jennifer A. González , C. Ondine Chavoya , Chon Noriega and Terezita Romo
Language: English
Published/Copyright: 2019
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About this book

This anthology—which includes essays from artists, curators, and critics—provides an overview of the history and theory of Chicano/a art from the 1960s to the present, emphasizing the debates and vocabularies that have played key roles in its conceptualization.

Author / Editor information

Jennifer A. González is Professor of History of Art and Visual Culture at the University of California, Santa Cruz.

C. Ondine Chavoya is Professor of Art at Williams College.

Chon Noriega is Professor of Film, Television, and Digital Media at the University of California, Los Angeles.

Terezita Romo is Program Officer at The San Francisco Foundation.

Reviews

"A substantial volume, covering the literature of the movimiento during a period of approximately forty years. The scope offered is far beyond a survey, compiled by four recognized authorities. . . . An impressive resource"

-- Clayton C. Kirking ARLIS/NA Reviews

"This pioneering anthology fills a significant gap in the complex history of Chicana/o art and visual culture. . . . this volume is a required resource for teaching and learning about Chicana/o art, especially as issues of identity, immigration, and inclusion continue to ignite intense debate and controversy in the US. Highly recommended. Lower-division undergraduates through faculty and professionals."

-- L. Estevez Choice

Topics

  • Publicly Available

    Frontmatter

    i
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    Contents

    v
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    List of Illustrations

    ix
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    Preface

    xiii
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    Acknowledgments

    xv
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    Introduction

    1
    Jennifer A. González
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  • Part I. Definitions and Debates
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    Introduction

    12
    Chon Noriega
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    1. Looking for Alternatives: Notes on Chicano Art, 1960–1990

    19
    Philip Brookman
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    2. Con Safo (C/S) Artists: A Contingency Factor

    30
    Mel Casas
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    3. El Arte del Chicano: “The Spirit of the Experience”

    32
    Gilbert Sanchez Luján
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    4. Notes on an Aesthetic Alternative

    35
    Carlos Almaraz
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    5. A Critical Perspective on the State of Chicano Art

    37
    Malaquías Montoya and Lezlie Salkowitz-Montoya
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    6. Response: Another Opinion on the State of Chicano Art

    45
    Shifra M. Goldman
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    7. Post-Chicano

    54
    Rita Gonzalez
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    8. The New Chicano Movement

    58
    Josh Kun
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    9. Post-movimiento: The Contemporary (Re)Generation of Chicana/o Art

    66
    Tomás Ybarra-Frausto
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    Further Reading

    72
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  • Part II. Cultural Reclamation and Vernacular Traditions
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    Introduction

    74
    Terezita Romo
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    10. The Politics of Popular Art

    81
    Rupert García
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    11. Rasquachismo: A Chicano Sensibility

    85
    Tomás Ybarra-Frausto
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    12. Domesticana: The Sensibility of Chicana Rasquachismo

    91
    Amalia Mesa-Bains
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    13. Chicano Humor in Art: For Whom the Taco Bell Tolls

    100
    Rubén Trejo
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    14. Points of Convergence: The Iconography of the Chicano Poster

    104
    Terezita Romo
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    15. Graffiti Is Art: Any Drawn Line That Speaks about Identity, Dignity, and Unity . . . That Line Is Art

    117
    Charles Bojórquez
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    16. Inventing Tradition, Negotiating Modernism: Chicano/a Art and the Pre-Columbian Past

    123
    Victor Zamudio-Taylor
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    17. Negotiated Frontiers: Contemporary Chicano Photography

    135
    Jennifer A. González
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    18. Deus ex Machina: Tradition, Technology, and the Chicanafuturist Art of Marion C. Martinez

    146
    Catherine S. Ramírez
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    19. Celia Alvarez Muñoz: “Civic Studies”

    165
    Roberto Tejada
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    Further Reading

    174
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  • Part III. Bodily Aesthetics and Iconologies
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    Introduction

    176
    Jennifer A. González
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    20. Mel Casas: Redefining America

    183
    Nancy Kelker
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    21. Drawing Offensive/Offensive Drawing: Toward a Theory of Mariconógraphy

    194
    Robb Hernández
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    22. The Pachuco’s Flayed Hide: Mobility, Identity, and Buenas Garras

    208
    Marcos Sánchez-Tranquilino and John Tagg
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    23. Writing on the Social Body: Dresses and Body Ornamentation in Contemporary Chicana Art

    219
    Laura E. Pérez
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    24. Ojo de la Diosa: Becoming Divine in Delilah Montoya’s Photography

    237
    Asta Kuusinen
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    25. Art Comes for the Archbishop: The Semiotics of Contemporary Chicana Feminism and the Work of Alma López

    250
    Luz Calvo
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    Further Reading

    263
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  • Part IV. Public Practices and Enacted Landscapes
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    Introduction

    266
    C. Ondine Chavoya
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    26. The Enacted Environment of East Los Angeles

    271
    James T. Rojas
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    27. Space, Power, and Youth Culture: Mexican American Graffiti and Chicano Murals in East Los Angeles, 1972–1978

    278
    Marcos Sánchez-Tranquilino
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    28. Pseudographic Cinema: Asco’s No-Movies

    292
    C. Ondine Chavoya
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    29. Whose Monument Where? Public Art in a Many-Cultured Society

    304
    Judith F. Baca
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    30. La Memoria de Nuestra Tierra: Colorado

    310
    Judith F. Baca
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    31. The Donkey Cart Caper: Some Thoughts on Socially Conscious Art in Antisocial Public Space

    314
    David Avalos
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    32. Public Audit: An Interview with Elizabeth Sisco, Louis Hock, and David Avalos

    319
    Cylena Simonds
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    Further Reading

    331
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  • Part V. Border Visions and Immigration Politics
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    Introduction

    334
    Jennifer A. González
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    33. Border Arte: Nepantla, el Lugar de la Frontera

    341
    Gloria Anzaldúa
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    34. The Spaces of Home in Chicano and Latino Representations of the San Diego–Tijuana Borderlands (1968–2002)

    351
    Jo-Anne Berelowitz
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    35. Straddling la otra frontera: Inserting MiChicana/o Visual Culture into Chicana/o Art History

    374
    Dylan Miner
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    36. Borders, Border Crossing, and Political Art in North Carolina

    394
    Gabriela Valdivia, Joseph Palis and Matthew Reilly
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    37. Excerpts from Codex Espangliensis: From Columbus to the Border Patrol

    402
    Enrique Chagoya, Guillermo Gómez-Peña, Felicia Rice and Guillermo Gómez-Peña
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    38. 187 Reasons Why Mexicanos Can’t Cross the Border (Remix)

    406
    Juan Felipe Herrera
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    Further Reading

    410
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  • Part VI. Institutional Frameworks and Critical Reception
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    Introduction

    412
    C. Ondine Chavoya
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    39. Los Four

    417
    Peter Plagens
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    40. MARCH to an Aesthetic of Revolution

    420
    Raye Bemis
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    41. Resisting Modernism: Chicano Art: Retro Progressive or Progressive Retro?

    423
    Ralph Rugoff
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    42. Our America at the Smithsonian

    427
    Philip Kennicott
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    43. Alex Rivera, Philip Kennicott Debate Washington Post Review of Our America

    430
    Philip Kennicott
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    44. What Do We Mean When We Talk about “Latino Art”?

    434
    Elizabeth Blair
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    45. Chicano Art: Looking Backward

    436
    Shifra M. Goldman
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    46. Readers’ Forum Letter to the Editor in Response to Shifra Goldman’s Exhibition Review

    440
    Judithe Elena Hernández De Neikrug
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    47. Readers’ Forum Response to Judithe Hernández’s Letter to the Editor

    442
    Shifra M. Goldman
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    48. “All Roads Lead to East L.A.,” Goez Art Studios and Gallery

    444
    Karen Mary Davalos
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    49. From CARA to CACA: The Multiple Anatomies of Chicano/a Art at the Turn of the New Century

    455
    Alicia Gaspar De Alba
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    50. On Museum Row: Aesthetics and the Politics of Exhibition

    470
    Chon Noriega
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    51. Strangeways Here We Come

    484
    Rita Gonzalez
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    Further Reading

    495
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    Glossary

    497
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    Contributors

    501
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    Index

    509
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    Acknowledgment of Copyrights

    531
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Publishing information
Pages and Images/Illustrations in book
eBook published on:
January 17, 2019
eBook ISBN:
9781478003403
Pages and Images/Illustrations in book
Main content:
552
Other:
79 illustrations
https://doi.org/10.1515/9781478003403
eBook ISBN: 9781478003403
Audience(s) for this book
Professional and scholarly;
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