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Chicano or Chicana is an ethnic identity for Mexican Americans who have a non-Anglo self-image, embracing their Mexican Native ancestry. 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. In the 1960s, Chicano was widely reclaimed in the building of a movement toward political empowerment, ethnic solidarity, and pride in being of indigenous descent. Chicano developed its own meaning separate from Mexican American identity. Youth in barrios rejected cultural assimilation into the mainstream American culture and embraced their own identity and worldview as a form of empowerment and resistance. The community forged an independent political and cultural movement, sometimes working alongside the Black power movement.
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.
Yolanda Margarita López was an American painter, printmaker, educator, and film producer. She was known for her Chicana feminist works focusing on the experiences of Mexican-American women, often challenging the ethnic stereotypes associated with them. Lopez was recognized for her series of paintings which re-imagined the image of the Virgen de Guadalupe. Her work is held in several public collections including the Smithsonian American Art Museum, the San Francisco Museum of Modern Art, and the Los Angeles County Museum of Art.
Ester Hernández is a California Bay Area Chicana visual artist recognized for her prints and pastels focusing on farm worker rights, cultural, political, and Chicana feminist issues. Hernández' was an activist in the Chicano Arts Movement in the 1960's and also made art pieces that focus on issues of social justice, civil rights, women's rights, and the Farm Worker Movement.
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.
Rasquachismo is a theory developed by Chicano scholar Tomás Ybarra-Frausto to describe "an underdog perspective, a view from "los de abajo" in working class Chicano communities which uses elements of "hybridization, juxtaposition, and integration" as a means of empowerment and resistance. Rasquachismo is commonly used to describe aesthetics present in the working class Chicano art and Mexican art movements which "make the most from the least." It has been described as a worldview, the "view of the underdog, which combines inventiveness with a survivalist attitude." Artists will oftentimes depict experiences of their own life in the “barrio” or the experiences of being Mexican and Chicano. This art movement has also been defined by artists and scholar Amalia Mesa-Bains "as a survivalist irreverence {'hased on sustaining elements of Mexican tradition and lived encounters in a hostile environment') that functioned as a vehicle of cultural continuity."
Amalia Mesa-Bains, is a Chicana curator, author, visual artist, and educator. She is best known for her large-scale installations that reference home altars and ofrendas. Her work engages in a conceptual exploration of Mexican American women's spiritual practices that addresses colonial and imperial histories of display, the recovery of cultural memory, and their roles in identity formation.
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.
Chicana literature is a form of literature that has emerged from the Chicana Feminist movement. It aims to redefine Chicana archetypes in an effort to provide positive models for Chicanas. Chicana writers redefine their relationships with what Gloria Anzaldúa has called "Las Tres Madres" of Mexican culture by depicting them as feminist sources of strength and compassion.
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.
Patssi Valdez is an American Chicana artist. She is a founding member of the art collective Asco. Valdez's work represents some of the finest Chicana avant-garde expressionism which includes but not limited to painting, sculpture and fashion design. She lives and works in Los Angeles, California.
Laura Aguilar was an American photographer. She was born with auditory dyslexia and attributed her start in photography to her brother, who showed her how to develop in dark rooms. She was mostly self-taught, although she took some photography courses at East Los Angeles College, where her second solo exhibition, Laura Aguilar: Show and Tell, was held. Aguilar used visual art to bring forth marginalized identities, especially within the LA Queer scene and Latinx communities. Before the term Intersectionality was used commonly, Aguilar captured the largely invisible identities of large bodied, queer, working-class, brown people in the form of portraits. Often using her naked body as a subject, she used photography to empower herself and her inner struggles to reclaim her own identity as "Laura" – a lesbian, fat, disabled, and brown person. Although work on Chicana/os is limited, Aguilar has become an essential figure in Chicano art history and is often regarded as an early "pioneer of intersectional feminism" for her outright and uncensored work. Some of her most well-known works are Three Eagles Flying, The Plush Pony Series, and Nature Self Portraits. Aguilar has been noted for her collaboration with cultural scholars such as Yvonne Yarbo-Berjano and receiving inspiration from other artists like Judy Dater. She was well known for her portraits, mostly of herself, and also focused upon people in marginalized communities, including LGBT and Latino subjects, self-love, and social stigma of obesity.
Sylvia Morales is an American film director, writer, producer, and editor. Morales is recognized as one of the first female Mexican-American filmmakers to have established a Latino cinema. In her filmmaking career, Morales has been nationally recognized winning awards for film and video documentary on topics ranging from the farm workers struggle to the music of Los Lobos.
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.
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.
Consuelo Jiménez Underwood is an American fiber artist, known for her pieces that focus on immigration issues. She is an indigenous Chicana currently based in Cupertino, California. As an artist she works with textiles in attempt to unify her American roots with her Mexican Indigenous ones, along with trying to convey the same for other multicultural people.
The Cheech Marin Center for Chicano Art & Culture, known as The Cheech, is a museum in Riverside, California. It is part of the larger Riverside Art Museum. The center is focused on the exhibition and study of Chicano art from across the United States. This is a collaborative effort between Cheech Marin, the City of Riverside and Riverside Art Museum. Cheech Marin is a stand-up comedian, actor, writer, and collector. He has donated or promised his collection of more than 700 pieces of Chicano art. Riverside provides the old Riverside public library to house the collection and the Riverside Art Museum manages the center. The Cheech strives to be a world-class institution for the research and study of "all things [related to] Chicano art". It is the first North American museum facility dedicated exclusively to Mexican-American and Chicano art.
Marion C. Martinez is a Chicana visual artist who repurposes discarded computer hardware in the production of her artwork.
Graciela Carrillo is a Chicana artist and muralist in San Francisco and member of the all-female Chicana/Latina artist group Mujeres Muralistas. She is a co-founder of Galería de la Raza, a gallery utilized to showcase the everyday lives of the Chicano community through art during the Chicano Civil Rights movement through the Chicano muralist movement.
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.
References
- 1 2 Lewthwaite, S. (2016). Revising the Archive: Documentary Portraiture in Photography of Delilah Montoya. In F. Aldoma (Ed.), The Routledge Companion to Latina/o Popular Culture (1st ed., pp. 226-236). New York, NY: Routledge. Retrieved 25 April 2017
- ↑ Ressler, Susan R. (2003). Women Artists of the American West. Jefferson, N.C.: McFarland & Co. p. 325. ISBN 078641054X.
- 1 2 Romero, R. (2012, October 28). Image Post #2 [Web Log Post]. Retrieved 25 April 2017, from https://sites.duke.edu/vms590s_01_f2012/2012/10/28/image-post-2/
- 1 2 3 4 Lewthwaite, Stephanie (2016). "Recovering Mestiza Genealogies in Contemporary New Mexican Art: Delilah Montoya's El Sagrado Corazón (1993)". Frontiers: A Journal of Women Studies. 37 (1): 118–150. doi:10.1353/fro.2016.a618386. ISSN 1536-0334.
- ↑ Farris, Phoebe (1999). Women Artists of Color : A Bio-Critical Sourcebook to 20th Century Artists in the Americas . Westport, Connecticut: Greenwood Press. p. 189. ISBN 0313303746.
- ↑ "Delilah Montoya". Artadia. Retrieved 2019-06-10.
- ↑ Cortez, Constance (2007). "History/Whose-Story? Post-coloniality and contemporary Chicana Art". Chicana/Latina Studies. 6 (2): 22–54. JSTOR 23014499.
- ↑ Rinaldi, Ray Mark. "Denver's Museo de las Americas giving voice to immigration activists". Denver Post. Retrieved 21 March 2016.
- ↑ Montoya, D. (2004-2008). Artist Statement. Sed: The Trail of Thirst. Retrieved 25 April 2017, from http://www.delilahmontoya.com/ArtistStatement.html#Women
- ↑ Gonzales, Rita; Fox, Howard N.; Noriega, Chon A. (2008). Phantom Sightings : Art After the Chicano Movement. Berkeley, CA: University of California Press. p. 175. ISBN 9780520255630.
- ↑ Kuusinen, Asta (2006). Shooting from the Wild Zone a Study of the Chicana Art Photographers Laura Aguilar Celia Alvarez Muñoz Delilah Montoya and Kathy Vargas. Helsinki University Press. pp. 168–191. ISBN 952-92-0196-6.
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