This anthology 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. In Chicano and Chicana Art—which includes many of Chicano/a art's landmark and foundational texts and manifestos—artists, curators, and cultural critics trace the development of Chicano/a art from its early role in the Chicano civil rights movement to its mainstream acceptance in American art institutions. Throughout this teaching-oriented volume they address a number of themes, including the politics of border life, public art practices such as posters and murals, and feminist and queer artists' figurations of Chicano/a bodies. They also chart the multiple cultural and artistic influences—from American graffiti and Mexican pre-Columbian spirituality to pop art and modernism—that have informed Chicano/a art's practice.
Contributors. Carlos Almaraz, David Avalos, Judith F. Baca, Raye Bemis, Jo-Anne Berelowitz, Elizabeth Blair, Chaz Bojóroquez, Philip Brookman, Mel Casas, C. Ondine Chavoya, Karen Mary Davalos, Rupert García, Alicia Gaspar de Alba, Shifra Goldman, Jennifer A. González, Rita Gonzalez, Robb Hernández, Juan Felipe Herrera, Louis Hock, Nancy L. Kelker, Philip Kennicott, Josh Kun, Asta Kuusinen, Gilberto “Magu” Luján, Amelia Malagamba-Ansotegui, Amalia Mesa-Bains, Dylan Miner, Malaquias Montoya, Judithe Hernández de Neikrug, Chon Noriega, Joseph Palis, Laura Elisa Pérez, Peter Plagens, Catherine Ramírez, Matthew Reilly, James Rojas, Terezita Romo, Ralph Rugoff, Lezlie Salkowitz-Montoya, Marcos Sanchez-Tranquilino, Cylena Simonds, Elizabeth Sisco, John Tagg, Roberto Tejada, Rubén Trejo, Gabriela Valdivia, Tomás Ybarra-Frausto, Victor Zamudio-Taylor
- Cover
- Contents
- List of Illustrations
- Preface
- Acknowledgments
- Introduction
- Part I. Definitions and Debates
- Introduction
- 1. Looking for Alternatives: Notes on Chicano Art, 1960–1990
- 2. Con Safo (C/S) Artists: A Contingency Factor
- 3. El Arte del Chicano: “The Spirit of the Experience"
- 4. Notes on an Aesthetic Alternative
- 5. A Critical Perspective on the State of Chicano Art
- 6. Response: Another Opinion on the State of Chicano Art
- 7. Post-Chicano
- 8. The New Chicano Movement
- 9. Post-movimiento: The Contemporary (Re)Generation of Chicana/o Art
- Further Reading
- Part II. Cultural Reclamation and Vernacular Traditions
- Introduction
- 10. The Politics of Popular Art
- 11. Rasquachismo: A Chicano Sensibility
- 12. Domesticana: The Sensibility of Chicana Rasquachismo
- 13. Chicano Humor in Art: For Whom the Taco Bell Tolls
- 14. Points of Convergence: The Iconography of the Chicano Poster
- 15. Graffiti Is Art: Any Drawn Line That Speaks about Identity, Dignity, and Unity . . . That Line Is Art
- 16. Inventing Tradition, Negotiating Modernism: Chicano/a Art and the Pre-Columbian Past
- 17. Negotiated Frontiers: Contemporary Chicano Photography
- 18. Deus ex Machina: Tradition, Technology, and the Chicanafuturist Art of Marion C. Martinez
- 19. Celia Alvarez Muñoz: “Civic Studies"
- Further Reading
- Part III. Bodily Aesthetics and Iconologies
- Introduction
- 20. Mel Casas: Redefining America
- 21. Drawing Offensive/Offensive Drawing: Toward a Theory of Mariconógraphy
- 22. The Pachuco’s Flayed Hide: Mobility, Identity, and Buenas Garras
- 23. Writing on the Social Body: Dresses and Body Ornamentation in Contemporary Chicana Art
- 24. Ojo de la Diosa: Becoming Divine in Delilah Montoya’s Photography
- 25. Art Comes for the Archbishop: The Semiotics of Contemporary Chicana Feminism and the Work of Alma López
- Further Reading
- Part IV. Public Practices and Enacted Landscapes
- Introduction
- 26. The Enacted Environment of East Los Angeles
- 27. Space, Power, and Youth Culture: Mexican American Graffiti and Chicano Murals in East Los Angeles, 1972–1978
- 28. Pseudographic Cinema: Asco’s No-Movies
- 29. Whose Monument Where? Public Art in a Many-Cultured Society
- 30. La Memoria de Nuestra Tierra: Colorado
- 31. The Donkey Cart Caper: Some Thoughts on Socially Conscious Art in Antisocial Public Space
- 32. Public Audit: An Interview with Elizabeth Sisco, Louis Hock, and David Avalos
- Further Reading
- Part V. Border Visions and Immigration Politics
- Introduction
- 33. Border Arte: Nepantla, el Lugar de la Frontera
- 34. The Spaces of Home in Chicano and Latino Representations of the San Diego–Tijuana Borderlands (1968–2002)
- 35. Straddling la otra frontera: Inserting MiChicana/o Visual Culture into Chicana/o Art History
- 36. Borders, Border Crossing, and Political Art in North Carolina
- 37. Excerpts from Codex Espangliensis: From Columbus to the Border Patrol
- 38. 187 Reasons Why Mexicanos Can’t Cross the Border (Remix)
- Further Reading
- Part VI. Institutional Frameworks and Critical Reception
- Introduction
- 39. Los Four
- 40. MARCH to an Aesthetic of Revolution
- 41. Resisting Modernism: Chicano Art: Retro Progressive or Progressive Retro?
- 42. Our America at the Smithsonian
- 43. Alex Rivera, Philip Kennicott Debate Washington Post Review of Our America
- 44. What Do We Mean When We Talk about “Latino Art"?
- 45. Chicano Art: Looking Backward
- 46. Readers’ Forum Letter to the Editor in Response to Shifra Goldman’s Exhibition Review
- 47. Readers’ Forum Response to Judithe Hernández’s Letter to the Editor
- 48. “All Roads Lead to East L.A.,” Goez Art Studios and Gallery
- 49. From CARA to CACA
: The Multiple Anatomies of Chicano/a Art at the Turn of the New Century
- 50. On Museum Row: Aesthetics and the Politics of Exhibition
- 51. Strangeways Here We Come
- Further Reading
- Glossary
- Contributors
- Index
- A
- B
- C
- D
- E
- F
- G
- H
- I
- J
- K
- L
- M
- N
- O
- P
- Q
- R
- S
- T
- U
- V
- W
- X
- Y
- Z
- Acknowledgment of Copyrights
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