"Chicano and Chicana Art"

The history is lengthy, but the future uncertain

This chapter covers an interring aspect to the situation and position of Mexican Americans and the Chicanx community. The arrival of colonial forces in the continent changed the face of the land and prompted the displacement of millions of indigenous people; who continue to travel in search ofd stability. He expresses how “America” has a different meaning for him, “it my America is a continent (not a country).” His America is not driven or defined by borders and political agreements, it is merely filled with “different peoples, cities, borders, and nations”. He acknowledges that he exists within a different continent, a land where his ancestors have experienced oppression in the form of colonialism, segregation, and now racist immigration laws with ICE as a policing force.

The image above was captured by artist Patrick Martinez’s. He chose to visually present the movement to abolish ICE and begin decriminalizing unauthorized immigration and the broken immigration system.

Land of the free and an unjust and cruel system 

The Chicano movement captured the struggle of finding pride in your identity and fought for fairness and equal treatment within the system. However, decades later, the supposed ‘land of the free’ remains unjust and new political movements have formed. Juan Felipe Herrera manages to capture the consistent struggle of undocumented immigrants and the stigma that comes along with having roots in Mexico. He skillfully paints an image of the U.S and Mexico’s long history of conflict with one another. He speaks on the overarching political environment that is not new, but in fact rooted in hundreds of years of discriminatory policies and racist immigration laws. Herrera vividly captures a multitude of perspectives between the two neighboring countries and complex narratives that exist today and have existed for centuries.

The image above, drawn by Ella Trujillo, caught my eye. It illustrates how the shadow of the statue of liberty so ironically continues to symbolize a fabricated  image of a land of freedom and new beginnings, while representing a country  that has continuously denied equal treatment and has granted discriminatory legislation. 

The unique identity and dynamic of East Los Angeles 

The presence of Mexican culture has created a big impact on the landscape and energy of East Los Angeles. Generations of Chicanx and the increasing flow of Mexican presence in the area has shaped the community significantly. James T. Rojas delves into the aspects that make East L.A unique. He carefully and knowingly describes the importance of street vendors and their historic presence on the streets. This image illustrates a similar image to the street vendors that so heavily roam the streets of Mexico. Additionally, the infrastructure is distinguished from other parts of LA by its colorful murals and plentiful graffiti. Murals substantially cover the walls of buildings and further prove the presence of Mexican American influence on the city. The author makes an important note, arguing that though the residents of the area may not have direct political power, they have still made themselves present. They have managed to create “an environment that says something about themselves” and has allowed them to find a source of empowerment.

The image above is from an article announcing the Governor’s decision to make it easier for vendor’s to sell their items legally. I felt it perfectly captured the unique elements of East Los Angeles. 

Validating and praising the history of Mexican Americans in Colorado 

As a Mexican American who has consistently seen pieces of my own history and the presence of my culture in the state, I find artist Judith F. Baca’s mural in placed and in full display at the Denver International Airport to be empowering. Baca recognizes the airport’s public image and the significance of illustrating the experiences of the many Chicano people that currently live in Colorado and have lived in for generations. She delves into her family’s long history in the state and the segregation and discrimination faced her mother and grandparents. Fighting for recognition in such a public space validates the significance of Mexican Americans in Colorado and shows that the many attempts to erase our presence have failed. Her mural serves as a reminder of the multicultural and multifaceted history of the state. As expressed by Baca, it is an “excavation of the Chicano/as complexity as an Indigenous peoples…” It was a way for her to explore her own identity and display it in a very public and established manner.

Pictured above is an image of the mural and all the extremely detailed and significant elements of the painting.  

Finding spaces for communities of color in public areas 

Most public spaces allocated to art tend to mainly display history and cultural images that depict White America. This Eurocentric take on history eliminates and discredits the deeply rooted presence of Mexican Americans and Chicanx. Art within the Chicano movement was fought to be displayed. The symbols and cultural images that are displaced solely depict images with connotations to the resistance and illustrations of the struggle. In a way this continues to remain true. For instance, the author explains how murals are often the only way in which communities of color are paid tribute. Even with murals, this images not fully seen as public art or given the same notoriety or value.

I hope that cities invest in their own histories by showcasing art from communities of color and giving them the same amount of attention and recognition. I found Alma Lopez’ mural to be a true effort at depicting Chicanx art in a public space. Though a mural, it captures strong and vibrant images, taking up space and making her presence known.

Contemporary art and the intersection between Chicanx women and Catholicism 

Though La Virgin de Guadalupe has now established itself as an omnipotent image of the Chicanx struggle, female identifying women desire to move away from the image’s Catholic roots and the Catholic reinforcement of sexist gender roles. The chapter presents the Virgin’s shift from symbolizing ‘purity’ and ‘holiness’ to becoming a well-established and recognizable image among Chicanos. Artists within the Chicano Rights movement began using her image as a symbol for resistance and an effective means of connecting with Mexican traditions. I find visual appearance to be an icon of the contemporary Chicanx identity, but also as a symbol of historic resistance. However, the chapter mentions the controversial images that many artists are creating. Many like Alma Lopez have reimagined the Virgin de Guadalupe to move away from Catholic ideals of female purity and sexist roles. Her very controversial image, coined ‘our lady of controversy’ showcases a more progressive image of the Virgin. I find this movement to be intriguing and to be a more progressive step in including female struggles that are often omitted from the dialogue.

The image above is another one of Alma Lopez’ artwork. She effectively and intentionally chooses images that move away from the Catholic church’s established image in a very powerful and empowering way.

Identity as expressed by the social body 

The body has a long history with expression and the symbolism created by the body itself and the decorations that accompany it. More generally style, clothes, piercings, tattoos, and other bodily decorations serve as a means of expressing identity and claiming membership in a certain group. However, there are certain symbols and images that illustrate more than words, they capture stereotypes that categorize certain people and their posistion in an institution. For example, the chapter discusses the way in which women of color are more regularly associated with a domestic worker’s uniform while white women are more usually envisioned in pantsuits. Further, brown and marginalized bodies have long been politicized and defined by the way in which their bodies are expressed. Personally, I have seen the hyper sexualization of brown women and the way in which we are degraded in the images plastered in our society.

Ester Hernandez, a Chicana artist depicts the many interconnected identities and gender expressions that exist within our community. The image above captured my attention as she intentionally illustrated an individual I perceive as a female with shorter hair and a tattoo of la Virgen de Guadalupe. These images hold powerful connotations and break away from the stereotypical image of a Mexican American woman.

‘Ni de aqui ni de alla’ 

Mel Casas beautifully captures the duality and constant battle that occurs within many individuals that hold both Mexican and American in their identity. Though a lot of Chicano history has been erased and deemed less important than white American history, it is important to remember how deeply rooted Mexican influence on the southwest of the United States has been historically. Mexican heritage and anglo influence created a unique identity in the southwest. He explains the difficulties of having multifaceted identities, with an internalized struggle between the “dichotomous nature” of being a “Mexican American in the southwest”. Casas claims that the chicano rights movement allowed for artists to showcase the deeply rooted history of Mexican culture in America. Art at the time served as a way for Mexican American identity to be showcased with pride and to prevent the erasure of their identities.

Similarly, the struggle between balancing and taking ownership of two identities is seen in El Paso and Ciudad Juarez, whose towns are separated by the border. Artist along the border have found a label for themselves, the "transborderistas”. A symbolic idea of the interconnectedness between the two cities that are merely separated by a wall and the political atmosphere that surrounds it. As Casas expresses in the chapter, it is difficult to exist within both identities, as at times it is easy to sacrifice one or the other.

An artist’s take on the beauty of  cultural sensibilities 

The word ‘rasquache’ describes something of low or poor quality. Growing up, ‘rasquache’ would described my family’s tendency to reuse things and to continue repurposing items. However, ‘rasquachismo’ began to capture the sensibilities of many Chicanx experiences that were looked down upon. It artistically captured the ‘sensibilites’ of many of the Chicanx experiences that tend to be looked down upon. Artist Yvette Mayorga began using recycled items and incorporating them into her artwork, as a symbol of appreciation. Rasquachismo serves as a way to dismantle the negative connotation that was placed on anything labeled as ‘rasquache’. Art like Mayorga’s serves to place value on experiences and items that were once seen as valueless or left over. In addition to repurposing many items and using a mixed media style, her work seeks to illustrate the “dark side of the American dream.” Interestingly, she hopes to capture the dismal nature of the experiences many immigrants have been subject to. She takes items that once characterized her life and uses them to illustrate the cruel realities many immigrants face. 

Contemporary photography as political expression in the modern age 

Impactful images tell stories and can subject a viewer to strong emotions and opinions about what is being captured. Jennifer A. Gonzales delves into the intricacies of photography and the elements that make them effective and impactful. Images should serve as a conversation between the artist and their audience. Gonzales puts this best, explaining that a photograph “is defined not only by its material form but also, and more importantly, by its audience.” The narratives told in modern photographs should capture a story that connects with viewers and engages its audience; giving the photograph meaning and power to deliver its message. 

Graffiti is rooted in identity, not in vandalism 

As Charles Bojórquez describes in the chapter, identity is the core element of art. This same concept translates into most work done by artists belonging to marginalized communities whose murals and street art has long been labeled as ‘vandalism’ and associated with . These negative connotations have long defined the art of graffiti. However, graffiti and street murals depict the generational adversity and the struggle of being Chicanx in America. Bojórquez gives the example of Los Angeles where there is a multitude of cultures whose experiences intertwine heavily. For many graffiti, is only seen as ‘tagging’ and is vilified as an art form, as it is not viewed as the ‘traditional’ and ‘western’ American idea of art. The author summarizes the harm caused by the negative view on graffiti well, “their message speaks only about abatement and punishment, never about the intent and purpose or why writers paint graffiti in the first place.” This view is troubling and excludes many Chicanx artists from the prestige given to other artists.

Pictured above is the Chicano Park located in San Diego, California which seeks to display and showcase Mexican American identity in the form of public art. It played an important role in the Chicano Rights movement and allowed for a safe space for many Chicanx talented muralists. 

A modern and humorous take on the Chicanx experience

Ruben Trejo describes the amusing nature of using jalapeños in art and their significance within Mexican American community. He compared the use of the jalapeño in art as Andy Warhol’s use of a banana. As a Mexican American woman I find his inclusion of jalapeños to be a simple yet effective way of connecting and relating to the Chicanx experience. Trejo comments on the cultural symbol of the jalapeño and how engrained it has become. He focuses on its “edibility” and the duality of a jalapeño, whose function serves a connection between its inherent symbolism among Chicanx and Anglos. Trejo describes the process as “[translating] a bilingual joke into a visual for” and in the process becoming a humorous symbol. 

This same use of humor that illustrates the duality of being both Mexican and American continues to be seen in modern artwork. Mike Alfaro used the well-known and celebrated images of the traditional game of loteria to include millennial narratives. He reimagined the classic images to include phrases and experiences of a new generation of Chicanx in America. For instance, ‘la sirena’ card is hilariously turned into ‘la selfie’ as a means of mixing in modern elements within this traditional game. His use of humor in the cards effectively relates to millennials and captures the beauty of the varying identities that exist within our community. Visual humor connects people by illustrating relatable experiences in a lighthearted and positive light. 

Using art as a political medium for expression of the realities of the Chicanx experience in America.  

Out of the transformative political climate of the 1960s, Chicanx artists and authors began engaging in sociopolitical dialogue and exploring Chicnax identity from that frame. Carlos Almaraz’ “Notes On An Aesthetic Alternative” showcases his take on art accessibility and the importance of remembering that art is for people. He argues that art should be for everyone and not treated as property or profiting a select few. Almaraz makes a distinct point that the idea of ‘quality’ should be discarded, considering it only “benefits collectors and museums.” Art should benefit the artists that create the work and should serve the people, as most of these pieces are intended to express the artist’s opinion. Artist should strive to break society’s predetermined idea of what “art” is and instead focus on creating art that “will cause a disturbance, a row, and maybe even a small revolution.” Much like Almaraz, who was an artist himself, Eric Almanza paints images of the Chicanx experience in America’s highly politicized climate. 

A new aesthetic based on tradition and contemporary narratives

In his writing, Josh Kun describes the unique elements of the new generation of art that began emerging out of the “political urgency” that defined Chicnx art during the Civil Rights movement. Kun outlines how these newly emerging Chicanx artists are creating art that mixes their cultural roots and portraying what it means to be a of Mexican decent in this new millennium. Further, these new artist are finding new icons to showcase and portray the “events and experiences of their own time”; just like the icons that were used to illustrate their social causes and political goals by past Chicanx activists. Much like Kun expresses, Angelica Becerra creates artwork that explores her experiences through art. Her art portrays women and queer people of color and their contributions. She describes herself as “an artist and scholar of political graphics.” This particular series portrays icons like Sandra Cisneros and Juan Gabrie as “Patron Saints” as a way of paying tribute to these cultural figures that most young Chicanx admire. I find her artwork and aesthetic fascinating and refreshing. Becerra’s different use of art mediums to mix her cultural roots with a newly created take on Chicnx art. I see my own experiences reflected in her portrayal of icons I have grown up with and admire. 

The Struggle of Building Our Own Home