Christina Fernandez sees herself as equally artist and storyteller, one who employs photography to explore social and physical isolation and estrangement within marginalized communities while experimenting with composition and form. Her art is shaped by the concerns that powered the Chicano movement and the aesthetics and discourses of postmodernism. As she considers the questions and ideas that absorb her, Fernandez moves between landscape and portraiture, but she revises the visual language to suit her purpose, producing works that are deeply thoughtful and engaging. This exhibition catalog examines the Los Angeles¿based photographer¿s work since the late 1980s. Among these works are Maríäs Great Expedition, in which the artist photographs herself as her immigrant grandmother, and the Lavanderia series, photographs created from layered images that offer glimpses into Eastside LA laundromats and the lives of their customers. The volume¿s six essays are supplemented with excerpts from three interviews with the artist. Together, they offer critical perspectives on Fernandez¿s radical intellectual and formal agenda and reveal the multiple senses of ¿exposure¿ that are at play in her art. Christina Fernandez: Multiple Exposures opens in September 2022 at the California Museum of Photography at the University of California, Riverside, and will travel nationally.
This first survey of Antonio Bernal¿s life and work, The Artist as Eyewitness features essays that assess his murals, situating them within the historical, political, and cultural frameworks of the Chicano movement. It also includes an analysis of Bernal¿s unpublished novel, Breaking the Silence; a biography of Bernal; reproductions of his artwork; and a selection of his writings. Drawing on personal correspondence and writings, photographs, and audiovisual materials that document Bernal¿s travels, artwork, and family history, this book offers an important contribution to Chicana/o studies and art history.
"This collection of essays, drawn from 'Aztlâan: A Journal of Chicano Studies,' focuses on the personal experiences of Chicanx and Latinx scholars, writers, and artists. Each essay is a reflection on the process of self-naming-the role of "I"-in the authors' work and research. 'Autobiography without Apology' expands the earlier CSRC Press publication 'I Am Aztlâan' with the inclusion of ten essays that bring the collection up-to-date. The new title acknowledges Aztlâan's growing scope as it embraces Latinx, LGBT, and Indigenous studies as well as Chicanx studies"
The Chicano Studies Reader, the best-selling anthology of articles from Aztlán: A Journal of Chicano Studies, has been newly expanded with a group of essays that focus on Chicana/o and Latina/o youth. This section, Generations against Exclusion, joins Decolonizing the Territory, Performing Politics, (Re)Configuring Identities, Remapping the World, and Continuing to Push Boundaries. Introductions to each section offer analysis and contextualization. This fourth edition of the Reader documents the foundation of Chicano studies, testifies to its broad disciplinary range, and explores its continuing development.
Explores the art and personal iconography of the Cuban-born American sculptor and installation artist.
Explores the art of the celebrated Chicana artist who depicts her childhood in the Mexican-American community in South Texas.
Pepon Osorio is an internationally recognized artist whose richly detailed installations challenge the stereotypes and misconceptions that shape our view of social institutions and human relationships. Osorio's colorful, often riotous installations are constructed from found objects and things that he customizes or creates. With a wry sense
Traces the history and assesses the impact of VIVA! Lesbian and Gay Latino Artists, a non-profit artists' coalition founded in 1987
The Mexican Museum of San Francisco was founded in 1975 by artist Peter Rodriguez to "foster the exhibition, conservation, and dissemination of Mexican and Chicano art and culture for all peoples." Its holdings include some 14,000 objects with a historical range extending from pre-conquest Mexico to contemporary Mexican American and Latino communities in the United States.The Chicano Studies Research Center¿s collection includes a broad selection of the museum's administrative papers and related materials. Karen Mary Davalos draws on these documents to trace the origins of the museum and explore how its mission has been shaped by its visionary artist-founder, local art collectors and patrons, Mexican art and culture, and the Chicano movement. A detailed finding aid and a selected bibliography complete the volume.
Ruben C. Cordova is an art historian, curator, and photographer who has taught at UC Berkeley, UT Pan American, UT San Antonio, and Sarah Lawrence College.
Robb Hernandez first explores Legorreta's career as the performance artist Cyclona and his influence on the generation of East L.A. artists who emerged during the tumultuous years of the Chicano movement, then assesses the collection in terms of its value to researchers. An illustrated section features album covers and the artist's thoughts on the significance of their Latino imagery. The book also includes a detailed finding aid for the collection.
In Paths to Discovery a group of extraordinary Chicanas trace how their interest in math and science at a young age developed into a passion fed by talent and determination. Today they are teaching at major universities, setting public and institutional policy, and pursuing groundbreaking research. These testimonios¿personal stories¿will encourage young Chicanas to enter the fields of mathematics, science, and engineering and to create futures in classrooms, boardrooms, and laboratories across the nation.
Known for its groundbreaking printmaking and art education programs, Self Help Graphics has empowered local artists and taught the world about the vibrancy of Chicano/Latino art. This is a guide to the Self Help Graphics & Art archives at the California Ethnic and Multicultural Archives (CEMA), University of California, Santa Barbara.
Explores the Frontera Collection, discussing genre, themes, and some of the thousands of performers whose recordings are archived
This set of essays explores the ongoing cultural and political connections between Chicana/o and Mexican history. Edited and introduced by Héctor Calderón, The Aztlán Mexican Studies Reader, 1974–2016 presents thirteen previously published essays together with three essays written specifically for this collection, making a rigorous case for the contributions of Chicana/o studies to the transnational study of Mexico. The first essay, by Tomás Almaguer, which was also the first to be published, sets the stage with a historical overview that relates how the Chicano movement was rooted in the soil of conquest and colonialism in Mexico. Subsequent essays discuss a range of topics that stress interconnections between Chicana/os and Mexicans: transborder issues such as immigration and labor; Chicana/o and Mexican fiction; femicide and racism in Mexico and their reverberations on both sides of the border; and the development of Mexican art forms—including muralism, cinema, and music—in Mexico and the United States.
The Art of Healing Latinos collects the wisdom of health professionals who have particular expertise in treating Latino patients. Their knowledge comes from many years of service in fields that range from pediatrics to geriatrics, oncology to psychology. Uniquely qualified to bridge the gap between the world of American medicine and the traditions of Latino culture, these physicians, researchers, administrators, and activists offer insight and advice to all who provide, or aspire to provide, health services to the Latino community.
La Raza, launched in 1967 in the basement of an East LA church, was conceived as a tool for community-based organizing during the early days of the Chicano movement. The all-volunteer staff of the newspaper, and the magazine that followed, informed their readers and exhorted them to action through images and articles that showcased protests and demonstrations and documented pervasive social inequity and police abuse. La RazaΓÇÖs photographers played a critical role as artists, journalists, and activists, creating an unparalleled record of the determination, resilience, and achievements of the Chicano community during a period of profound social change. The essays offer not only scholarly assessments of the role of Chicano photographers in social movements and art history but also personal perspectives from La Raza photographers.This catalog presents photographs drawn from La Raza, an exhibition at the Autry Museum of the American West and a collaboration between the museum and the UCLA Chicano Studies Research Center, which houses a collection of nearly 25,000 La Raza photographic images.
Speculative fictionΓÇöencompassing both science fiction and fantasyΓÇöhas emerged as a dynamic field within Chicana/o and Latina/o studies, producing new critical vocabularies and approaches to topics that include colonialism and modernity, immigration and globalization, race and gender. As the first collection engaging Chicana/o and Latina/o speculative cultural production, Altermundos: Latin@ Speculative Literature, Film, and Popular Culture provides a comprehensive alternative to the view of speculative fiction as a largely white, male, Eurocentric, and heteronormative genre. It features original essays from more than twenty-five scholars as well as interviews, manifestos, short fiction, and new works from Chicana/o and Latina/o artists.
Home — signaling a dwelling, residence or place of origin — embodies one of the most basic concepts for understanding an individual or group within a larger physical and social environment. Yet home has been a little noted, although prevalent, feature in art since the 1950s, a period in which artists challenged the traditional “object” of the visual arts through the use of material and media culture, new forms, and performative actions and processes. This volume explores works by diverse U.S. Latino and Latin American artists whose engagement with the concept of “home” provides the basis for an alternative narrative of post-war art. Their work brings together an impressive array of formal languages, conceptual strategies, and art historical references with the varied social concerns characterizing both the postwar period in the Americas and an emerging global economy impacting day-to-day life.The artists featured in this volume engage home as both concept and artifact. This can be seen in the use of building fragments or excisions (Gordon Matta-Clark, Gabriel de la Mora, and Leyla Cárdenas), household furniture (Raphael Montañez Ortiz, Beatriz González, Doris Salcedo, Amalia Mesa-Bains, Guillermo Kuitca), and personal possessions (Carmen Argote, María Teresa Hincapié, Camilo Ontiveros), and also in the use of coca leaves as a material base of the American Dream and its economic exchange with Colombia (Miguel Angel Rojas). Within more representational work, home is the re-creation of fraught domiciles (Abraham Cruzvillegas, Pepón Osorio, Daniel J. Martinez), a collage of spaces, styles, and materials (Antonio Berni, Andrés Asturias, Jorge Pedro Nuñez, Miguel Angel Ríos, Juan Sanchez), and a juxtaposition of bodies and place (Laura Aguilar, Myrna Báez, Johanna Calle, Perla de León, Ramiro Gomez, Jessica Kairé, Vincent Valdez). In more conceptual work, home is all these things reduced to form—a floor plan (Luis Camnitzer, León Ferrari, María Elena González, Guillermo Kuitca), a catalog of objects (Antonio Martorell, Hincapié), or a housing development plan (Livia Corona Benjamin, Martinez). In the end, home is a journey without arrival (Allora y Calzadilla, Luis Cruz Azaceta, Christina Fernandez, Felix Gonzalez-Torres, Julio César Morales, Teresa Serrano). Home—So Different, So Appealing reveals the departures and confluences that continue to shape US Latino and Latin American art and expands our appreciation of these artists and their work.
Explores how oral history, using video recordings and storytelling as well as interviews, can be used for a number of purposes in communities of colour
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