A Chicano mural is an artistic expression done, most commonly, on walls or ceilings by Chicanos or Mexican-American artists. Chicano murals rose during the Chicano art movement, that began in the 1960, with the influence of Mexican muralism and the Mexican Revolution. [1] The murals are an illustration of Chicano’s ethnic pride or a form of activism against police brutality, social issues, political issues, and civil rights issues. It started being done by young Chicano artists in commonly marginalized neighborhoods, schools, and churches, demonstrating cultural art and ideas. [2] The murals are characterized by their art style of bright color, religious symbols, and cultural references to Mexican and Mexican American history. [3] Chicano murals have been and are historically found in the Southwest states like Texas, Colorado, and most famously, California, where the national landmark Chicano Park is located. The popularity of the Chicano Murals has allowed a sense of community, culture, activism, and storytelling about elements of being Chicano. Various states are currently looking to preserve and restore some murals as they carry historical meaning for the geographical community and the Mexican-American community. [2]
In the early 1920s, muralism was created, in the way that is currently seen, because of the Mexican muralism movement, which was influenced by the Mexican Revolution. During this time, the government paid artists to create murals to educate the illiterate Mexicans about what was politically and socially occurring in their country. [4] Muralism helped illustrate what the revolution could have led to and what history had done for Mexicans. [5] With this, the government aimed to rise in popularity and gain control over the narrative of the revolution. [6]
In the late 1960s, African American Civil Rights inspired the Chicano Civil Rights movement, or "El Movimiento", in which Chicano fought against their treatment in the United States after the Treaty of Guadalupe Hidalgo did not have the effects that the Mexican American community expected, the moment fought against segregation, mistreatment, educational inequality, and more. [7] During this time, Chicanos, specifically young Chicanos, started to create art to express their feeling about political, social, and economic issues, which led to the Chicano Art Movement, similar to what occurred during the Mexican Revolution but without government funding. The Chicano Art Movement aids in portraying and focusing on the discrimination and treatment of Mexican Americans during this time. The Chicano Art Moment led to the popularity of murals as an art medium as it was more accessible for the artist and for people to see the art. [8]
In the 1990s, during the last stretch of the second wave of feminism, some Chicana artists struck for change by creating art that portrayed their political views. During this time, Chicana artist went to the streets to create their art, as they were not commonly accepted in museums compared to their Anglo-American counterparts. [8] This form of mural focused on women's struggles, gender stereotypes, cultural perspectives, and Mexican-American struggles. These murals are commonly associated with the rise of female mural artists and a rise in the leadership of Chicana artists. [9]
In the 2020s, Chicano murals have been part of multiple preservation and restoration projects with the intention to maintain Chicano culture pride developing in places like California, with Chicano Park, and Colorado, with La Alma Lincoln Park Recreation Center. [10] Most states that historically and currently have Chicano/Mexican-American murals are bordering states and the Southwest. [2]
Chicano art in California has appeared in urban areas, exploring the expression of indigenous expressions of Chicano culture. [11] The first recorded Chicano Mural was found in California, in Delano, painted on United Farm Workers union headquarters, which at the time was led by Cesar Chavez and Dolores Huerta. [12] California's movement of government as areas that are adjacent to the Mexican border their Mexican population is higher than other places affected by "El Movimiento". Historically, it has been recorded that projects such as Chicano murals in California have been connecting to the politics of minorities found in marginalized neighborhoods. [6]
California had the first Chicano art gallery in 1969 as part of the Chicano movement. [13] Chicano Park is located in the San Diego area. The Chicano part has historical importance in the Chicano Community. For community residents of San Diego during the issuing problem and resentment in the 1950s, a space for Mexican Americans was demanded; The Brown Berets was one of the influential groups for the creation of the area. [14] In 1969, Chicano Park was designed to give Chicanos a space to express their political and social concerns through art.
San Francisco has a diverse community with different expressions of community and struggles. [15] The diversity enabled the Chicano community to demonstrate their identity through muralism. [16] Organizations like the San Francisco Museum of Modern Art have created digital preservation programs called "Proyecto Mission Murals" which look to preserve the art and their history. [17]
El Centro Chicano y Latino was created in 1978-79 by Stanford University plan to support their Mexican American community and students. [18] The center claims that they look for inclusion of the Chicano student and seeks to create spaces to inspire the celebration of culture. [19]
Colorado is one of the states establishing a preservation, conservation, and memorial of historical and almost extinct Chicano murals. [20] Denver has included Chicano murals as "11 Most Endangered Historic Places" of the most historically extinct historical pieces to The National Trust for Historic Preservation. [21] Chicanos are being highlighted in the media as an important part of the culture and history of Colorado.
La Alma Lincoln Recreational Center has been considered one of the most important historic places in Denver's Chicano Community. It has been producing public art and stories from the Chicano Movement of the 1960s and 1970s, as the Chicano community felt marginalized. [22] Historic Denver describes this area as the center of Denver's Chicano Movement, as it is located in one of the oldest residential neighborhoods. [23]
La Alma Lincoln Park Neighborhood was used in early 1969 as a painting area for Chicano artists like Emanuel Martinez with "La Alma". [24] Emanuel Martinez is considered one of the pioneers in Chicago of Chicano murals. [25] " La Alma" is the mural currently standing and part of restoration plans as they aimed to preserve it as is historically important to the community. [22] Emanuel Martinez explains that the meaning of this mural is Martinez's connection to his community and aims to portray the duality of culture. [26] Emanuel Martinez used to educate Denver's high schoolers in 10th to 12th grade about "The Mexican Muralist Movement and an Exploration of Public Art" and La Alma's meaning and influence on the Chicano Mural Movement. [27]
As part of being one of the border states, Texas saw the wave of the Chicano movement in the 1960s, which caused the growth of Chicano cultural pride. [28] The first Chicano mural recorded in Texas was found in Houston, “La Historia Chicana” by Jesse Trevino, at the Student Union Building of Our Lady of the Lake University. [12]
Mexic-Arte Museum is based on Mexican and Mexican-American Artists with the mission to educate about Latin American art and the preservation of their craft. [29] The museum yearly allows Mexican-American artists to create and paint a culturally or politically significant mural by the museum’s 5th Street wall. [30]
“El Segundo Barrio” or “The Second Neighborhood” in El Paso, Texas is one of the oldest Hispanic neighborhoods and the first Mexican Border town. [31] Historically, murals in this are prevalent to demonstrate the bordering ideas of the duality of Mexican Americans. [32] In 2016, the neighborhood was part of the Most Endangered Places in Texas. [33]
Chicano or Chicana is an ethnic identity for Mexican Americans that emerged from the Chicano Movement. Chicano was originally a classist and racist slur used toward low-income Mexicans that was reclaimed in the 1940s among youth who belonged to the Pachuco and Pachuca subculture.
Chicanismo emerged as the cultural consciousness behind the Chicano Movement. The central aspect of Chicanismo is the identification of Chicanos with their Indigenous American roots to create an affinity with the notion that they are native to the land rather than immigrants. Chicanismo brought a new sense of nationalism for Chicanos that extended the notion of family to all Chicano people. Barrios, or working-class neighborhoods, became the cultural hubs for the people. It created a symbolic connection to the ancestral ties of Mesoamerica and the Nahuatl language through the situating of Aztlán, the ancestral home of the Aztecs, in the southwestern United States. Chicanismo also rejected Americanization and assimilation as a form of cultural destruction of the Chicano people, fostering notions of Brown Pride. Xicanisma has been referred to as an extension of Chicanismo.
The Chicano Movement, also referred to as El Movimiento, was a social and political movement in the United States that worked to embrace a Chicano/a identity and worldview that combated structural racism, encouraged cultural revitalization, and achieved community empowerment by rejecting assimilation. Chicanos also expressed solidarity and defined their culture through the development of Chicano art during El Movimiento, and stood firm in preserving their religion.
Chicana feminism is a sociopolitical movement, theory, and praxis that scrutinizes the historical, cultural, spiritual, educational, and economic intersections impacting Chicanas and the Chicana/o community in the United States. Chicana feminism empowers women to challenge institutionalized social norms and regards anyone a feminist who fights for the end of women's oppression in the community.
Judith Francisca Baca is an American artist, activist, and professor of Chicano studies, world arts, and cultures based at the University of California, Los Angeles. She is the co-founder and artistic director of the Social and Public Art Resource Center (SPARC) in Venice, California. Baca is the director of the mural project that created the Great Wall of Los Angeles, which was the largest known communal mural project in the world as of 2018.
Chicano poetry is a subgenre of Chicano literature that stems from the cultural consciousness developed in the Chicano Movement. Chicano poetry has its roots in the reclamation of Chicana/o as an identity of empowerment rather than denigration. As a literary field, Chicano poetry emerged in the 1960s and formed its own independent literary current and voice.
Malaquías Montoya is an American-born Chicano poster artist who is known as a major figure in the Chicano Art Movement of the 1960s and 1970s.
Juarez–Lincoln University was an institution that was founded in 1971. The university was one of many institutions that was made in the late 1960s because of the Mexican American movement that demanded more Latino involvement such as representations and being included in higher institutions. Experiences of discrimination and the absence of Mexican American history in school curriculum occurred throughout the United States. The Mexican American Youth Organization (MAYO), a civil rights organization, had a conference in 1969 and made a plan to make Jacinto Treviño College in Mercedes, Texas. The concept was initially presented at a plenary session of the Mexican American Youth Organization holding its annual statewide meeting at La Lomita, a building which had been a seminary, just south of Mission, Texas in December 1969.
Alma López is a Mexican-born Queer Chicana artist. Her art often portrays historical and cultural Mexican figures, such as the Virgin of Guadalupe and La Llorona, filtered through a radical Chicana feminist lesbian lens. Her art work is meant to empower women and indigenous Mexicans by the reappropriation of symbols of Mexica history when women played a more prominent role. The medium of digital art allows her to mix different elements from Catholicism and juxtapose it to indigenous art, women, and issues such as rape, gender violence, sexual marginalization and racism. This juxtaposition allows her to explore the representation of women and indigenous Mexicans and their histories that have been lost or fragmented since colonization. Her work is often seen as controversial. Currently, she is a lecturer at the University of California Los Angeles in the Department of Chicana/o Studies.
The Chicano Art Movement represents groundbreaking movements by Mexican-American artists to establish a unique artistic identity in the United States. Much of the art and the artists creating Chicano Art were heavily influenced by Chicano Movement which began in the 1960s.
Las Mujeres Muralistas were an all-female Latina artist collective based in the Mission District in San Francisco in the 1970s. They created a number of public murals throughout the San Francisco Bay Area, and are said to have sparked the beginning of the female muralist movement in the US and Mexico. Their murals were colorful and large scale and often focused on themes such as womanhood, culture, beauty, and socio-political change. Patricia Rodriguez, Graciela Carrillo, Consuelo Mendez, and Irene Perez are recognized as the founders and most prominent members of the collective, but other female Chicana artists assisted along the way and even joined later on, such as Susan Cervantes, Ester Hernandez, and Miriam Olivo among others.
Josefina Quezada was a Mexican-born Chicana muralist, photographer and supporter of the arts in Los Angeles. There are twelve murals in Los Angeles created by Quezada.
Yreina Cervantez is an American artist and Chicana activist who is known for her multimedia painting, murals, and printmaking. She has exhibited nationally and internationally, and her work is in the permanent collections of the Smithsonian American Art Museum, The Mexican Museum, the Los Angeles County Museum, and the Los Angeles Museum of Contemporary Art.
Santa Barraza is an American mixed-media artist and painter who is well known for her colorful, retablo style painting. A Chicana, Barraza pulls inspiration from her own mestiza ancestry and from pre-Columbian art. Barraza is considered to be an important artist in the Chicano art movement. The first scholarly treatment of a Chicana artist is about her and is called Santa Barraza, Artist of the Borderlands, which describes her life and body of work. Barraza's work is collected by the Mexic-Arte Museum, and other museums around the United States and internationally. She currently lives in Kingsville, Texas.
Carlota D.d.R EspinoZa is an American painter, muralist, and activist in her Art. She is one of the early Latina / Chicana muralists in Denver with works in Cuba, San Francisco, Texas, Arizona, and Colorado.
Chicana art emerged as part of the Chicano Movement in the 1960s. It used art to express political and social resistance through different art mediums. Chicana artists explore and interrogate traditional Mexican-American values and embody feminist themes through different mediums such as murals, painting, and photography. The momentum created from the Chicano Movement spurred a Chicano Renaissance among Chicanas and Chicanos. Artists voiced their concerns about oppression and empowerment in all areas of race, gender, class, and sexuality. Chicana feminist artists and Anglo-feminist took a different approach in the way they collaborated and made their work during the 1970s. Chicana feminist artists utilized artistic collaborations and collectives that included men, while Anglo-feminist artists generally utilized women-only participants. Art has been used as a cultural reclamation process for Chicana and Chicano artists allowing them to be proud of their roots by combining art styles to illustrate their multi-cultured lives.
Deborah Mora Espinosa is a Chicana activist in Colorado. She worked for History Colorado as the director of El Pueblo History Museum.
The queer Chicano art scene emerged from Los Angeles during the late 1960s and early 1990s composing of queer Mexican American artists. The scene’s activity included motives and themes relating to political activism, social justice, and identity. The movement was influenced by the respective movements of gay liberation, Chicano civil rights, and women’s liberation. The social and political conditions impacting Chicano communities as well as queer people, including the HIV/AIDS epidemic, are conveyed in the scene’s expressive work.
Arlette Lucero is an American visual artist, educator, and illustrator.
Jesus "Chuy" Campusano, was an American Chicano visual artist, and muralist. He was a well-known contributor to San Francisco's arts in the 1970s and 1980s; and was a co-founder of Galería de la Raza, a non-profit community focused gallery that featured Latino and Chicano artists and their allies.
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