Chicana/o Remix: Art and Errata Since the Sixties

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NYU Press #ad - Combining feminist theory, art historical analysis, Karen Mary Davalos argues that narrow notions of identity, critical ethnic studies, politics, and extensive archival and field research, and aesthetics limit our ability to understand the full capacities of Chicana/o art. Throughout chicana/o remix, their cultural production, Davalos explores undocumented or previously ignored information about artists, and the exhibitions and collections that feature their work.

Each chapter exposes and challenges conventions in art history and Chicana/o studies, documenting how Chicana artists were the first to critically challenge exhibitions of Chicana/o art, tracing the origins of the first Chicano arts organizations, and highlighting the influence of Europe and Asia on Chicana/o artists who traveled abroad.

These concepts, which emerge out of art practice itself, drive her analysis and reinforce the rejection of familiar narratives that evaluate Chicana/o art in simplistic, traditional terms, such as political versus commercial, or realist versus conceptual. Chicana/o remix casts new light not only on artists—such as Sandra de la Loza, curators, and the collectors, among others—but on the exhibitions that feature their work, Judy Baca, critics, and David Botello, and advocates who engage it.

Chicana/o Remix: Art and Errata Since the Sixties #ad - As a leading scholar in the study of chicana/o artists, and exhibition practices, art spaces, Davalos presents her most ambitious project to date in this re-examination of fifty years of Chicana/o art production. She employs fresh vernacular concepts such as the “errata exhibit, and the “remix, ” or the staging of exhibits that critically question mainstream art museums, ” or the act of bringing new narratives and forgotten histories from the background and into the foreground.

Rewrites our understanding of the last 50 years of Chicana/o cultural production.

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Chicano and Chicana Art: A Critical Anthology

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Duke University Press Books #ad - Ondine chavoya, karen mary davalos, Shifra Goldman, Rupert García, Alicia Gaspar de Alba, Jennifer A. Baca, elizabeth blair, mel casas, philip Brookman,  Raye Bemis, Chaz Bojóroquez, Jo-Anne Berelowitz, C. Kelker, philip kennicott, ralph rugoff, joseph palis, james rojas, amalia mesa-bains, gilberto “magu” luján,  malaquias montoya, asta kuusinen, judithe hernández de neikrug, peter Plagens, Elizabeth Sisco, Josh Kun, Chon Noriega, Amelia Malagamba-Ansotegui, Catherine Ramírez, Dylan Miner, Matthew Reilly, Rubén Trejo, Gabriela Valdivia, Terezita Romo, John Tagg, Laura Elisa Pérez, Marcos Sanchez-Tranquilino, Tomás Ybarra-Frausto, Cylena Simonds, Roberto Tejada, Lezlie Salkowitz-Montoya, Victor Zamudio-Taylor .

González, rita gonzalez, juan felipe Herrera, Robb Hernández, Louis Hock, Nancy L. 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.

Chicano and Chicana Art: A Critical Anthology #ad - Throughout this teaching-oriented volume they address a number of themes, public art practices such as posters and murals, including the politics of border life, 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.

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Chicana Art: The Politics of Spiritual and Aesthetic Altarities Objects/Histories

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Duke University Press Books #ad - Used book in Good Condition. While key works from the 1960s and 1970s are discussed, most of the pieces considered were produced between 1985 and 2001. They make use of, pre-columbian mesoamerican and other non-Western notions of art and art-making, and often radically rework, and they struggle to create liberating versions of familiar iconography such as the Virgin of Guadalupe and the Sacred Heart.

These pieces are part of the dynamic body of work presented in this pioneering, lavishly illustrated study, the first book primarily focused on Chicana visual arts. Creating an invaluable archive, Laura E. Providing a rich interpretive framework, bigotry, Pérez describes how Chicana artists invoke a culturally hybrid spirituality to challenge racism, patriarchy, and homophobia.

Filled with representations of spirituality and allusions to non-Western visual and cultural traditions, the work of these Chicana artists is a vital contribution to a more inclusive canon of American arts. Ester hernandez’s 1976 etching libertad/liberty depicts a female artist chiseling away at the Statue of Liberty, in the process, freeing from within it a regal Mayan woman and, creating a culturally composite Lady Liberty descended from indigenous and mixed bloodlines.

Chicana Art: The Politics of Spiritual and Aesthetic Altarities Objects/Histories #ad - . In alma lopez’s digital print lupe & sirena in love 1999, two icons—the Virgin of Guadalupe and the mermaid Sirena, who often appears on Mexican lottery cards—embrace one another, symbolically claiming a place for same-sex desire within Mexican and Chicano/a religious and popular cultures. In her painting coyolxauhqui last seen in East Oakland 1993, Irene Perez reimagines as whole the body of the Aztec warrior goddess dismembered in myth.

Pérez examines the work of more than forty chicana artists across a variety of media including painting, printmaking, photography, and fiction, comics, altars and other installation forms, film and video, interactive CD-ROM, sound recording, sculpture, performance, poetry, and plays.

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The Heart of the Mission: Latino Art and Politics in San Francisco

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University of Pennsylvania Press #ad - The book begins with the history of the latin quarter in the 1940s and the subsequent cultivation of the Beat counterculture in the 1950s, demonstrating how these decades laid the groundwork for the artistic and political renaissance that followed. Used book in Good Condition. Through these different historical frames, Cordova links the creation of Latino art with a flowering of Latino politics.

Well before the anointment of the "mission school" by art-world arbiters at the dawn of the twenty-first century, writers, Latino artists, poets, performers, playwrights, and filmmakers made the Mission their home and their muse. The mission, cubans, mexican americans, Puerto Ricans, home to Chileans, Nicaraguans, Guatemalans, and Salvadorans never represented a single Latino identity.

The Heart of the Mission: Latino Art and Politics in San Francisco #ad - In the heart of the mission, a longtime bohemian enclave in san francisco, political, Cary Cordova combines urban, and art history to examine how the Mission District, has served as an important place for an influential and largely ignored Latino arts movement from the 1960s to the present. Using oral histories, visual culture, the chicano movement and third world movements of the 1960s, and archival research, the transnational liberation movements in Nicaragua and El Salvador, the community mural movement of the 1970s, she analyzes the Latin jazz scene of the 1940s, Latino involvement in the avant-garde of the 1950s, and the AIDS activism of the 1980s.

In tracing the experiences of a diverse group of Latino artists from the 1940s to the turn of the century, Cordova connects wide-ranging aesthetics to a variety of social movements and activist interventions.

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Chicana Movidas: New Narratives of Activism and Feminism in the Movement Era

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University of Texas Press #ad - Used book in Good Condition. With contributions from a wide array of scholars and activists, including leading Chicana feminists from the period, activism, this groundbreaking anthology is the first collection of scholarly essays and testimonios that focuses on Chicana organizing, and leadership in the movement years.

Charting the rise of a field of knowledge that crosses the boundaries of Chicano studies, feminist theory, and queer theory, Chicana Movidas: New Narratives of Activisim and Feminism in the Movement Era offers a transgenerational perspective on the intellectual and political legacies of early Chicana feminism.

Chicana Movidas: New Narratives of Activism and Feminism in the Movement Era #ad - . The essays in chicana movidas: new narratives of activisim and feminism in the Movement Era demonstrate how Chicanas enacted a new kind of politica at the intersection of race, and methodologies that in turn generated new theories, and sexuality, gender, art forms, organizational spaces, tactics, class, and developed innovative concepts, and strategies of alliance.

These are the technologies of resistance documented in chicana movidas, mobilizations, and subjects; examinations of emergent Chicana archives and the politics of collection; and scholarly approaches that challenge the temporal, regions, a volume that brings together critical biographies of Chicana activists and their bodies of work; essays that focus on understudied organizations, political, heteronormative, and spatial limits of established Chicano movement narratives.

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Axis Mundo: Queer Networks in Chicano L.A.

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Prestel #ad - Working between the 1960s and early 1990s, the artists profiled in this compendium represent a broad cross section of L. A. S art scene. The powerful work of queer Chicano artists in Los Angeles is explored in this exciting and thoughtful book. With nearly 400 illustrations and ten essays, this volume presents histories of artistic experimentation and reveals networks of collaboration and exchange that resulted in some of the most intriguing art of late 20th-century America.

From "mail art" to the rise of chicano, gay, and feminist print media; the formation of alternative spaces to punk music and performance; fashion culture to the AIDS crisis—the artists and works featured here comprise a boundary-pushing network of voices and talents. Used book in Good Condition.

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Tradition and Transformation: Chicana/o Art from the 1970s through the 1990s

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UCLA Chicano Studies Research Center Press #ad - She was determined to correct the stereotypes that had distorted the critical reception of Chicana/o and Latina/o art since the 1950s. This collection of essays, edited and introduced by Charlene Villaseñor Black, not only represents her groundbreaking scholarship but also reflects her political activism.

She also investigates the careers of major chicana/o artists, beginning with the historic Chicano Art: Resistance and Affirmation, discusses specific series of artworks, which opened in Los Angeles in 1990 and then traveled cross-country, closing in Washington, and analyzes exhibitions, DC, in 1993. Many of the illustrations have not been widely reproduced, adding to the importance of this collection.

Tradition and Transformation: Chicana/o Art from the 1970s through the 1990s #ad - Used book in Good Condition. In these writings goldman considers important theoretical issues, including how the Chicano movement influenced and was influenced by artists in the Southwest and Mexico and how different artistic visions clashed and interacted. Pioneering art historian shifra Goldman brought the study of Chicana/o and contemporary Latin American art to the notice of art history.

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Judith F. Baca A Ver

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Chicano Studies Research Center #ad - She looks in depth at the great wall and considers the artist’s ongoing work with the Social and Public Art Resource Center SPARC in Venice, California, a nonprofit group founded by Baca in 1976. Used book in Good Condition. Behind the fascinating public artist’s practice of collaboration Judith F. The mural is emblematic of baca’s pioneering approach to creating public art, a process in which members of the community are essential contributors to the conception and realization of the work.

Judith F. Baca A Ver #ad - Anna indych-lópez explores baca’s oeuvre, from early murals painted with local gang members in the Boyle Heights neighborhood of Los Angeles to more recently commissioned works. Throughout, indych-lópez assesses what she calls baca’s “public art of contestation” and discusses how ideas of collaboration and authorship and issues of race, class, and gender have influenced and sustained Baca’s art practice.

. Baca is best known for the great wall of los angeles 1976–83, a vibrant 2, 740-foot mural in Los Angeles that presents an alternative history of California—one that focuses on the contributions of marginalized and underrepresented communities.

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The Decolonial Imaginary: Writing Chicanas into History Theories of Representation and Difference

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Indiana University Press #ad - It will certainly be read seriously in Chicano/a studies. Women's review of booksemma pérez discusses the historical methodology which has created Chicano history and argues that the historical narrative has often omitted gender. She poses a theory which rejects the colonizer’s methodological assumptions and examines new tools for uncovering the hidden voices of Chicanas who have been relegated to silence.

The Decolonial Imaginary: Writing Chicanas into History Theories of Representation and Difference #ad - Used book in Good Condition. The decolonial imaginary is a smart, challenging book that disrupts a great deal of what we think we know.

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L.A. Xicano

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UCLA Chicano Studies Research Center Press #ad - The volume's six illustrated essays examine the life and works of dozens of artists and photographers. The authors consider the context of their turbulent history, particularly the development of the Chicano Movement. The L. A. The authors consider the context of their turbulent history, particularly the development of the Chicano Movement.

Xicano project was organized by the ucla chicano studies Research Center in collaboration with the Autry National Center, the Fowler Museum at UCLA, and the Los Angeles County Museum of Art. Best arts book - english from the 2012 International Latino Book Awards Used book in Good Condition. Xicano accompanies four interrelated exhibitions that explore the diverse artistic contributions of Mexican American and Chicano artists to American art and to Los Angeles's artistic development since 1945.

L.A. Xicano #ad - The volume's six illustrated essays examine the life and works of dozens of artists and photographers. L. A. The L. A. Xicano project was organized by the ucla chicano studies Research Center in collaboration with the Autry National Center, the Fowler Museum at UCLA, and the Los Angeles County Museum of ArtL.

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Flying Under the Radar with the Royal Chicano Air Force: Mapping a Chicano/a Art History

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University of Texas Press #ad - Winner, national association for chicana and chicano studies book Award, poetry, 2019The Royal Chicano Air Force produced major works of visual art, prose, music, and performance during the second half of the twentieth century and first decades of the twenty-first. In particular, she demonstrates how women significantly contributed to the collective's output, navigating and challenging the overarching patriarchal cultural norms of the Chicano Movement and their manifestations in the RCAF.

The collective's work has contributed significantly both to Chicano/a civil rights activism and to Chicano/a art history, literature, and culture. Blending rcaf members' biographies and accounts of their artistic production with art historical, cultural, and literary scholarship, Flying under the Radar with the Royal Chicano Air Force is the first in-depth study of this vanguard Chicano/a arts collective and activist group.

Flying Under the Radar with the Royal Chicano Air Force: Mapping a Chicano/a Art History #ad - Materializing in sacramento, in 1969 and established between 1970 and 1972, California, the RCAF helped redefine the meaning of artistic production and artwork to include community engagement projects such as breakfast programs, community art classes, and political and labor activism. Ella maria diaz investigates how the rcaf questioned and countered conventions of Western art, from the canon taught in US institutions to Mexican national art history, while advancing a Chicano/a historical consciousness in the cultural borderlands.

Used book in Good Condition. Diaz also shows how the rcaf's verbal and visual architecture—a literal and figurative construction of Chicano/a signs, symbols, and texts—established the groundwork for numerous theoretical interventions made by key scholars in the 1990s and the twenty-first century.

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