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Guide to the Chicano Visual Arts Kit
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Title: Chicano Visual Arts Kit
Repository:
University of California, Santa Barbara. Library. California Ethnic and Multicultural Archives
Santa Barbara, CA 93106
Shelf location: For current information on the location of
these materials, please consult the library's online catalog.
Language:
English.
None.
Copyright resides with donor
Production of these materials was supported in whole or in part by the U.S. Department of
Education under the provisions of the Library Services and Construction Act, administered
in California by the State Librarian.
[Identification of item], Chicano Visual Arts Kit, Special Collections, University of
California, Santa Barbara.
This kit is made up of an assortment of slides and various published materials on the
Chicano visual arts. It was assembled with the aim of making Chicano art more accessible
to the general public. It is part of a much larger project that preserves the visual
images of the Chicano Art Movement for research and study through the California Ethnic
and Multicultural Archives (CEMA). CEMA is based in the Davidson Library at the
University of California at Santa Barbara.
The materials in this kit may be used in any number of ways; the slides and books can be
consulted individually, school teachers can assemble selected slides for classroom
presentations or workshops, student groups may wish to use them for projects and
librarians may wish to use them in cultural programs for the community.
People with varying levels of awareness and knowledge about Chicano art will find this
collection useful. For those with no prior experience with Chicano art, these materials
will be enlightening; for those already familiar with the field, such as students of art
history, the slides will affirm, reinforce, and enrich what they may already know. For
the purpose of this project the concept of "Chicano art" is defined in
Chicano
Art: A Resource Guide
that is included in this visual arts kit; as such, the
definition is inclusive and it applies to the cultural arts that were produced by
Chicanos as well as works created by certain non-Chicano artists who were affiliated with
one or more of the Chicano cultural centers represented in this collection; these are
artists who have been a part of the exhibitions and because the artists have demonstrated
a strong identification with the Chicano Movement and a commitment to the ideals inherent
in Chicano art.
The slide duplicates which form a part of this kit number 500, and they were selected as
representative images drawn from a much larger collection of 14,000 slides. The original
slides were supplied by four of California's most important Chicano cultural
centers/galleries. These four centers are San Diego's Centro Cultural de la Raza, Los
Angeles' Self-Help Graphics and Art, San Francisco's Galeria de la Raza, and Sacramento's
Royal Chicano Air Force. The archives of these four centers are deposited with CEMA as
permanent collections. More information about the centers is found in
Chicano Art:
a Resource Guide
enclosed in this kit. To a certain extent the present catalog is
a "work in progress."
The entries are as complete as possible; some of the information about the images is
listed as "unknown" and, it is hoped that with the passage of time, the cataloging will
be updated. Accent marks are used throughout the catalog unless the artist of a work
chose not to use these either for his or her name or for the title of the work.
The individual slides in the kit are organized first according to major category of art
medium, such as "Drawings," "Graphic Arts," or "Murals." Within these broader categories
the individual slides are arranged in alphabetical order by name of the artist. All the
slides are sequentially numbered from 001 to 500 so that it will be easy to re-file them
in their proper location in the kit. Please note that in Appendix B there is a glossary
of the thirteen art medium classifications that were used to group the slide images,
along with their accompanying definitions.
Further duplication of these slides is expressly prohibited. Any questions concerning the
contents of this kit should be directed to the California Ethnic and Multicultural
Archives. A complete listing showing the location in California of other comparable kits
is included with this packet in Appendix C. Production of these materials was supported
in whole or in part by the U.S. Department of Education under the provisions of the
Library Services and Construction Act, administered in California by the State Librarian.
- 1. Chicano Art: Resistance and Affirmation, 1965-1985. Edited by Ricahard Griswold de Castillo, Teresa McKenna, Yvonne Yarbro-Bejarano. Los Angeles: Wight Gallery, University of California, Los Angeles, c1991.
- 2. Chicano Expressions: A New View in American Art: April 14-July 31, 1986. Director: Lockpez, Inverna et al. New York, NY: INTAR Latin American Gallery, c1986. 48p.
- 3. Chicano Monograph Series (Includes 8 different issues) Galería de la Raza. Profiles of individual Chicano Artists
- 4. Made in Aztlan. 1 ed. Brookman, Philip and Guillermo Gómez-Peña, eds. San Diego, CA: Centro Cultural de la Raza, c1986. 116p.
- 5. Chicano Art History: A Book of Selected Readings. Quirarte, Jacinto, ed. San Antonio, TX: Research Center for the Arts and Humanities, University of Texas at San Antonio, c1984. 137p.
- 6. Signs From the Heart: Chicano Murals. Cockcroft, Eva Sperling and Holly Barnet-Sanchez, eds. Venice, CA. Social and Public Art Resource Center, c1990. 105p. (incl. slide/educational text supplement)
- 7. High Performance Magazine -Special Issue #35 v.9, no.3, 1986. Interviews with selected Chicano artists.
- 8. Imagine: International Chicano Poetry Journal -Special Issue v.3, nos. 1-2 Summer-Winter 1986. Profiles 54 Chicano artists, including portfolios and artist's statements.
- 9. The Border Art Workshop/Taller de Arte Fronterizo. (BAW/TAF) 1984-1989: A documentation of 5 years of interdisciplinary art projects dealing with U.S.-Mexico border issues (a binational perspective). (BAW/TAF). San Diego, California: Border Art Workshop/Taller de Arte Fronterizo, c1988.
- 10. Chicano Visual Arts Kit. 2 slide albums and printed guide.
Appendix A
About Proyecto CARIDAD
Proyecto CARIDAD (Chicano Art Resources Information Development and
Dissemination) is a project which was founded in 1990 to preserve the visual arts
resources created by the nation's leading Chicano art collectives in California. The
project has a two-part focus. Its first mission is to comprehensively record the
contributions of Chicano artists which are documented in the slide collections of four
major Chicano/Latino cultural arts centers. As part of this mission the project aims to
preserve the original visual arts slides contributed by these centers, and to produce
duplicates of these for research and study and for access and use by libraries, community
groups and schools.
The comprehensive collection created by the project is an invaluable resource of an
important art movement that began in the mid-1960s. This historic archive of slides that
record the past and present history of the centers of Chicano art production and
exhibition in California, provides an unprecedented visual record of that important art
and cultural history for the broader public of California. The centers represented in the
project include the Centro Cultural de la Raza (San Diego), Galería de la Raza
(San Francisco), the Royal Chicano Air Force (Sacramento), and Self-Help Graphics and Art
(Los Angeles).
An important part of this project is the production of Chicano visual arts kits made up
of selected slides and printed material to be placed in various sites throughout the
state. Such sites include selected public libraries and museums. These kits include
printed resource guides which are also available separately for use in schools,
libraries, and by community groups.
Chicano art historian Ramón Favela states "what is important to keep in mind, is
that Chicano art was created for all people of all of all ethnicities and classes to
appreciate." To learn more about this subject please request a free copy of the resource
guide "An Introduction to Chicano Art in California" which includes an essay and an
annotated list of readings.
Proyecto CARIDAD is a component of the California Ethnic and Multicultural
Archives (CEMA), located in the Donald C. Davidson Library of the University of
California, Santa Barbara. CEMA is a program which collects historical materials that
document the cultural and political experiences of the Asian American, African American,
Chicano/Latino, and Native American ethnic groups in California.
Slide Classifications and Definitions
- 1. ASSEMBLAGE-COLLAGE
- 2. ATELIER
- 3. CENTER ACTIVITIES AND PROGRAMS
- 4. DRAWINGS
- 5. GRAPHIC ARTS
- 6. INDIGENOUS CHICANO MEDIUMS AND ART FORMS
- 7. INSTALLATION ART
- 8. MURALS
- 9. PAINTINGS
- 10. PERFORMANCE AND CONCEPTUAL ART
- 11. PHOTOGRAPHY
- 12. SCULPTURES
- 13. NON-CENTER ACTIVITIES AND PROGRAMS
GENERAL NOTE: The identification process is strictly
object-oriented. The "work" will always refer to the work of art in the slide, or in the
case of photography, if the slide film is the medium of the photographer, the "work" will
also refer to the slide itself. In the event that the slide is not focused on an
individual work, but rather on a wider view which includes the work and several other
works (as in a gallery installation photograph, or the artist photographed next to the
work) unless the slide is a "work of art" itself, i.e., the product of a professional
photographer or artist who wants it catalogued as such, the category of the slide should
be "Center Activities and Programs."
1.
ASSEMBLAGE-COLLAGE -The use of and assembly of
three-dimensional found materials to create an individual and unique art object. In
addition to more conventional forms of contemporary assemblage, the following examples
should be classified as Assemblage-Collage and cross-referenced with Indigenous Chicano
Mediums and Art Forms:
- Altar (Spanish form of altar) -All "altares" are assemblages if they are created by artists as works of Contemporary Art, and are not private and devotional religious home or church altars, within the tradition of Mexican Catholicism.
- Ofrenda -An elaborate assemblage altar made from mixed mediums in an interior or outdoor setting, but made with a distinct ceremony or ritual "offering" in mind.
- Caja (Box) -An assemblage contained in a box or box-like form.
- Nicho (Niche) -A variation on the Caja, above, where the emphasis is placed on the niche-like format of the assemblage sculpture.
2.
ATELIER -This special classification pertains exclusively
to the on-going annual experimental silk screen print atelier at Self-Help Graphics &
Art, Inc.
3.
CENTER ACTIVITIES AND PROGRAMS -Please include in this
section all slides of the centers' various outreach activities, museum education, and
cultural programs, including Dance Performances, Poetry Readings, Ballet Folklorico and
Conchero performances, Teatro, Workshop and Talleres activities, Musical concerts, and
any public events such as protest marches or political gatherings, meetings, and gallery
exhibition installations (i.e., hanging of paintings or installing of sculptures and
other works) of shows and openings.
4.
DRAWINGS -The unique and direct application of an image, in
which line dominates mass, to a support ground (such as, paper). Some drawings are
independent and finished works of art. Others are preparatory or preliminary designs or
sketches for other works of art such as paintings, murals, sculpture, architecture, etc.
5.
GRAPHIC ARTS -The various multiple-edition, or
multiple-reproductive print processes by which original prints are created. The printing
processes utilize a master (matrix) plate, block, lithographic stone, or silkscreen, by
which multiple images are transferred to paper. The principal graphic arts processes
include: silkscreen, etching, aquatint, woodcut, linoleum cut, lithography, xerox (black
and white or color), or other commercial reproductive print process, such as offset
lithography.
6.
INDIGENOUS CHICANO MEDIUMS AND ART FORMS -The word
"Indigenous" is not meant in the anthropological sense, but rather in its positive social
and historical sense, meaning art forms and mediums "Unique to, or Native to" the Chicano
Art Movement. These are mediums and art forms that originated in the Chicano art movement
as a result of the creativity and originality of Chicano and Chicana artists who drew
their inspiration from the pre-Hispanic and Hispanic Mexican traditions and mediums as
well as from those in contemporary American and International art. Examples of such works
and mediums are: Lowriders created as moving painted sculptures, such as Magu's
Our Family Car, the tortilla art of José Montoya and others,
Ricardo Favela's
Coronas produced for the Day of Dead, as well as the
altares,
ofrendas,
cajas and
nichos,also produced for
Día de los Muertos and other occasions,
or the Galeria de la Raza's
Calendarios, to name a few.
7.
INSTALLATION ART -A site-specific artwork, usually
temporary or ephemeral. The arrangement of objects and use of different mediums in a
creation made especially for a particular gallery space or outdoor site, to be viewed as
an entire ensemble or environment. Installations created by one or various artists are
usually exhibited for a brief period and then dismantled, leaving only the photographic,
visual, sometimes audiovisual, documentation as the work of art. Installations in Chicano
art may include portable murals painted exclusively for the installation in combination
with works in other mediums, such as sculpture, videotape monitors, paintings, or
assemblages. Altares or ofrendas that are so large as to encompass the entire gallery
space will be cross-referenced with Assemblage and Indigenous Chicano Art Forms.
8.
MURALS -A painting executed directly on a wall or ceiling
or done on a portable panel that is destined for a wall or architectural setting.
9.
PAINTINGS -A creative work done by the skilled application
of paint, or in the case of pastel, colored masses, to a surface or ground support. Easel
paintings, usually of moderate size, are executed on a traditional painter's easel or
similar device, and are destined for hanging on a wall for public or private viewing in
either a collection, museum, or gallery.
10.
PERFORMANCE AND CONCEPTUAL ART -This category includes
artworks produced by individual artists or artists' groups, who create "idea" or
Conceptual Art by working in multi-media, semi-theatrical performance. The term is also
retroactively applied to earlier live-art forms, such as Body Art, Happenings, Guerrilla
Art Actions, and Dada and Neo-Dada, and anti-traditional art events in general.
11.
PHOTOGRAPHY -In general terms, a medium-technique like oil
paint or pastel, photography is the art of using and manipulating the camera and film to
produce unique images of reality or formal abstractions. The subject and the stylistic or
aesthetic intentions of the photographer will determine whether the "type" of photography
is creative, journalistic or documentary.
- Creative photography is a photographic print or a slide, in which the photographer intentionally manipulates the camera and the development process, to produce an original and unique work of art.
- Journalistic Photography or Photo journalism is the making of photographs or slides for the printed news page. If the slide is a photograph meant to be reproduced in books, magazines, or newspapers, or a slide of such a photograph, it is a Journalistic photograph or slide.
- Documentary Photography is photography that responds to social activities or social problems that are particularly pressing to the photographer. Unless the slide depicts a particular social activity meant to be documented as such by the photographer, the slide should be identified as a Center Activity or Program.
12.
SCULPTURES -Sculpture will be classified under traditional
mediums and carving or modeling techniques, e.g., Wood, Clay, Bronze cast (specify Number
Edition if cast in multiples), Wood, Papier mache, Masks, Ceramic (glazed), Plaster,
Welded metal, Stone, etc.
13.
NON-CENTER ACTIVITIES AND PROGRAMS -Slide documentation of
exhibits, art works, parades, festivals and other programs and events. The slide
photographer may not necessarily be representing a particular cultural center and that
center may not be represented or be participating in the activity being documented. In
general, the event is not considered a major center activity but the photographer saw the
importance of documenting the event.
Condensed from: "Proyecto CARIDAD Slide Identification Form Glossary-Guidelines,
Index-Classifications" by Ramon Favela, 1990
Appendix C
Designated Sites for Proyecto CARIDAD Chicano Visual Arts Kits
-
Galeria de la Raza
2857 24th StreetSan Francisco, CA 94114(415) 826-8009
-
The Mexican Museum
Fort Mason Bldg. DLaguna and Marina Blvd.San Francisco, CA 94123(415) 441-0445
-
Centro Cultural de la Raza
2130-1 Pan American Plaza #1San Diego, CA 92101(619) 235-6135
-
Chicano Resource Center
East Los Angeles Public Library4801 E. 3rd StreetLos Angeles, CA 90022(213) 264-0155
-
Self-Help Graphics and Art, Inc.
3802 Avenida Cesar ChavezLos Angeles, CA 90063(213) 264-1259
-
California State Library
Special Collections Department1001 Sixth StreetSacramento, CA 95809(916) 653-0101
Central Coast and South Coast Area
-
Donald C. Davidson Library
California Ethnic and Multicultural ArchivesUniversity of CaliforniaSanta Barbara, CA 93106(805) 893-8563
Appendix D
Chicano Art: A Resource Guide
September 1991
The purpose of this brief guide is to provide an overview on the subject of Chicano art,
to help acquaint the reader with the history, the meaning, and significance of this
important aspect of Chicano culture. The guide includes an annotated list of suggested
further readings.
This is the first of several resource guides prepared by Proyecto CARIDAD (Chicano Art
Resources Information Development and Dissemination). The project is a component of the
California Ethnic and Multicultural Archives of the Library at the University of
California, Santa Barbara.
The primary focus of Proyecto CARIDAD was to collect, organize, duplicate, and catalog
the many slides of paintings, posters, murals, sculptures and other activities of Chicano
artists represented in the archival collections of four of the major Chicano cultural art
centers in California. The resulting slide library is being made available for study and
research at the UC Santa Barbara Library. Selected duplicates from these slides will be
available for community use, in the form of visual arts kits which may be borrowed from
selected California libraries and cultural centers. A current list of these sites may be
requested from Proyecto CARIDAD at the address given on the verso of this guide.
The guide was published under the auspices of the Galería de la Raza in San
Francisco, one of the cultural centers which have collaborated with Proyecto CARIDAD. Its
existing Chicano Artist Monographs Series consists of informative booklets on Chicano
artists printed in a similar format to this resource guide.
INTRODUCTION TO CHICANO ART IN CALIFORNIA
Chicano art is in a most general way a community art form that expresses the experiences,
feelings, ideas, and aspirations of both a very real and ideal Chicano community. In the
United States, this Chicano community exists in all its diversity of ideas, gender,
symbols and shared history with one uniting factor, and that is the history of its
cultural origins. The Chicano Art Movement was born out of the frustration, inner
necessity, and struggle for basic human, civil, and distinctive cultural rights of a once
neglected and even denigrated people in this country, Mexican Americans. It reflects the
cultural expressions of Mexican Americans who with their substantial material, political,
cultural and artistic heritage and contributions to American culture enrich the
pluralistic history of California and the United States. In fact, its works, ideas, and
even artists, often cross ethnic and class boundaries. Following the recent dramatic
demographic changes in California and the rest of the country, many artists of the
original Movement have sought to expand and redefine it. Chicano art is a straightforward
activist, political (in the sense of "choosing a side" on an issue), and didactic art
form that calls on the viewer to educate him or herself about the cultural origin of the
art and the intentions of the artists in order to appreciate and understand it.
Its first known artworks were created in farmworker communities of central California in
the mid-Nineteen Sixties in support of the United Farmworker labor struggle of
César Chávez, and for Luis Valdez's Teatro Campesino (Farmworkers'
Theater). Those Chicano artworks that were later produced throughout the Southwest were
often directly inspired by the political and cultural developments among "working class"
(low-wage earning) Mexican Americans in this state. The Chicano art community has existed
as a relatively cohesive ideological community with shared cultural aspirations since the
Chicano youth and student movement of the mid-1960s, and has produced a substantial body
of public artwork from about the year 1970, when the concept of a "Chicano Art"
crystalized.
Art historians define artistic Movements as phenomena characterized by groups of artists
producing works with basically similar and definable characteristics and aims. The
analogy of a "school" of fish who, to the observer, swim together, is an apt one when
applied to the concept of a School of artists, who appear from a distance to swim
together regardless of their slightly different and individual characteristics. In the
case of Chicano and Chicana art and artists, it is the self-chosen, and highly symbolic
name and public self-identification as "Chicano/Chicana artists," as well as the
social-aesthetic concerns of their works that binds them together in the creative waters
of Contemporary American art.
Although the term "art" encompasses each creative activity including music, dance,
theater, film, and literature, the subject of this essay and the content of the CARIDAD
archive is focused on the "Visual Arts," those art forms that provide the "visual"
expression of the Chicano people and their cultural experience through painting, drawing,
the graphic arts, photography, sculpture, and architecture, as well as through the more
recent developments in conceptual, performance, multi-media, video, and interdisciplinary
arts recorded in various print or electronic media. The realm of things made or formed by
human hands is the realm of the visual arts, and this is the focus of the CARIDAD
archival project, which is to our knowledge the first slide collection in the United
States documenting in a systematic way, the history of a specific contemporary American
vanguard visual art movement in all its forms. The vantage point is the Chicano
experience and Chicano worldview in the United States.
Although examples of "Chicano Art," can be traced to the mid 1960s, in California it did
not develop as a fully articulated style and movement in the visual arts until 1970, when
the first works expressing a distinctive "Chicano" content, style and identity appeared.
Previously, works by American artists of Mexican descent in this country with few
exceptions had followed traditional "folk" art and decorative artistic styles and genres.
After the 1950s, and the entrance of Mexican Americans into college art programs, (mostly
through the G.I. Bill) several artists began to work in progressive American vanguard
styles such as Abstract, Pop, Minimalist, and Conceptual art. The important events of
1969, in the Chicano Social and Civil Rights Movement
(El Movimiento) led
directly to a concerted movement of "Mexican American" artists to create public art in
the service of the Chicano social revolution. They also created very different and
original works in private, non-public art mediums such as easel painting, prints,
photography, and sculpture, collage and assemblage, along with completely new indigenous
Chicano art forms. These latter are art forms and mediums "unique to," or "native" to the
Chicano art experience, such as Magu's lowrider cars created as moving painted
sculptures, Jose Montoya's "tortilla art," or Diane Gamboa's "paper fashions." These
forms originated in the Chicano art movement as a result of the creativity and
originality of Chicano and Chicana artists who drew their inspiration from the
pre-Hispanic (pre-Columbian), and colonial Hispanic Mexican traditions and mediums as
well as sources in contemporary American art and society.
By its very "Chicano" community-based nature, Chicano art is a public and political art,
proclaiming and expressing public and social concerns in its themes and subjects, and
even in its most private or seemingly obscure, extravagant, or initially incomprehensible
examples. An example of the latter would be the works of the Chicano Conceptual group
ASCO (Nausea), performed at Los Angeles' Self-Help Graphics.
It is the aim of this essay to introduce this important visual archive of Chicano art,
which contains the visual record of the arts and the artists who originate from and
continue to live the "Chicano" experience. The CARIDAD archive is comprised of the visual
record of the California artists (Chicano, Chicana, White and other Latino and ethnic
origins and mixtures) who were all associated with the Chicano Art Movement. The bulk of
the visual materials come from the important art collectives who have committed
themselves to expressing that very special "Chicano" experience rooted in economic
poverty and cultural alienation within the broader and dominantly white European American
cultural reality.
This historic archive collection of slides that record the past and present history of
the four key and historic centers of Chicano art production and exhibition in California,
will provide an unprecedented visual record of that important art and cultural history
for the broader public of California. What is important to keep in mind, is that Chicano
art was created for all people of all ethnicities and classes to appreciate. The art
which was documented in the slides which will accompany the packets, includes photographs
of original works of art, but also many photographs of the very real interdisciplinary
process and context in production and exhibition of Chicano art, which at times gives new
meaning to the concept of the visual arts.
The four centers of Chicano art which comprise the bulk of the collection all have their
origins in the Chicano civil rights movement that peaked in the year of 1969. The
national and cultural origins of Chicanos are Mexican, but the fact that Chicanos are
born and live in the United States, adopting many North American cultural values and
traits, makes them culturally different from Mexican nationals and Mexican immigrants who
choose to retain a clear and close relationship with their mother culture, most often
fostered by language maintenance. Recently, as can be seen in the slides of Chicano
cultural center activities, Central and South American and Caribbean immigrants, as well
as some Euroamericans have come to participate in many Chicano art manifestations.
The four cultural art centers represented in the CARIDAD Archive, thus far include
Self-Help Graphics, Inc., founded in Los Angeles in 1972 by Sister Karen Boccalero, a
Franciscan nun, as a silkscreen print poster collective. Its aim was to produce
professional quality posters and fine art silkscreen prints (serigraphs) by Chicano
artists who would convey through this public art form, a distinct and indigenous Chicano
cultural identity, pride and artistic achievement, through its professionally guided Silk
Screen Ateliers (workshops) for emerging community Chicano artists. The silk-screen print
was one product, but through idealistic and committed efforts of Sister Karen and the
staff over the years, the by-product was the artistic achievement that the collective
Atelier experience instilled in young hopeful Chicano and Chicana artists. Equal in
importance for the Self-Help Graphics documentation is the large group of slides
recording the center's activities and community outreach programs which were as
innovative as they were far-ranging. The important slides documenting the now popular
November 1st community celebrations of the Mexican Day of the Dead, are of tremendous
historical value. In fact, all four centers were involved and continue to be involved in
important youth and community-based artistic and cultural programs that celebrate and
encourage broad-based interest and development in the cultural contributions and artistic
potential of the California Chicano-Latino artistic community. They also encourage and
facilitate the exposure of American and World Art to poor and neglected segments of their
communities.
Galería de la Raza, which literally means "The Gallery of the People," was
co-founded in 1970 by the Chicano conceptual artist René Yáñez and
the late serigrapher Ralph Maradiaga, in concert with a group of Latino Bay Area artists.
For close to two decades Maradiaga and Yáñez administered the daily
operations and curatorial projects of the gallery considered to be one of the most
important community-based galleries in the country. Its art education and gallery store
component, Studio 24, was founded in 1980 by María Pinedo, its present manager.
Studio 24 provides an outlet for highly-prized folk art, books and music from Mexico and
Latin America. Since its founding the Galería has been on the cutting edge of
ideas and new forms of Chicano/Latino artistic expression in California. It has served as
both an exhibition space for progressive and traditional exhibitions of Chicano and Latin
American art of all styles and persuasions, and as a community center for the teaching
and appreciation of art and culture. Like the other centers in the Archive, it was
instrumental in the organization and founding of the Chicano Mural Movement in San
Francisco, beginning in the 1970s. With the rich Latin American and Third World immigrant
population in the Mission District where the Galería is located, to this day it
continues to be a committed Chicano/Latino organization with a broad-based Latin American
constituency.
Centro Cultural de la Raza of San Diego, which was also founded as an artists'
multi-disciplinary collective in 1970, was the dynamic center of
indigenismo (indigenism) in the early years of the Aztlán
phase of Chicano art (1970-75). The celebrated Chicano poet Alurista, one of its
co-founders, was instrumental in leading the Centro towards this orientation. Contacts
and cultural exchanges were initiated with Native American artistic groups as well as
indigenous performance groups in Mexico, such as the Mascarones, and Conchero groups, and
various Mexican and Mexican American Ballet Folklorico groups who would contribute so
much to the Chicano art and performance movements throughout the Southwest, and later,
the nation. Victor Ochoa, co-founder of the Centro, who was, and still is actively
associated with it, was also a major figure in the formation of the Toltecas en
Aztlán artists' collective originally based in the Centro, and who contributed to
the monumental mural campaign at Chicano Park in San Diego.
Last, but not least, and actually first in the chronology of Chicano art in California,
is the RCAF, or Royal Chicano Air Force. Founded in Sacramento in 1969, by the veteran
Chicano artists José Montoya and Esteban Villa, its original name the "Rebel
Chicano Art Front" was so-named in homage to the Vietnamese National Liberation Front and
other Third World liberation movements of self-determination going on in the world at the
time. The two artists had earlier been associated with the pioneering San Francisco Bay
area collective Mexican American Liberation Art Front, or MALAF, formed early in 1969.
The archive of the RCAF/Centro de Artistas Chicanos of Sacramento, is a comprehensive
record of a truly community-based effort of the Chicano art movement, which produced
various now-prominent Chicano and Chicana artists working throughout the United States.
The RCAF's community outreach program in art education is a model program of humanistic
commitment in contemporary Chicano and American art.
The University of California at Santa Barbara was the birthplace of the
Plan de
Santa Barbara,
a Chicano manifesto of self-determination and commitment to the
community, issued in 1969. We here, at UC Santa Barbara, have very much accepted Chicano
art as a legitimate art movement of contemporary art, and Proyecto CARIDAD is actively
involved in an attempt to preserve for posterity the historical visual record of this
important contemporary American art movement.
Administrative Information
El proposito de esta breve guía es el de exponer al público en general al
arte chicano y ayudar al lector a conocer su historia y familiarizarse con este aspecto
de la cultura chicana. La guía incluye una lista descriptiva de otros materiales
de lectura que son recomendables.
Esta es la primera de varias guías de archivos, acervos documentales y colecciones
de diapositivas preparada por el Proyecto CARIDAD (Chicano Art Resources Information
Development and Dissemination). El Proyecto es uno de los componentes del programa
California Ethnic and Multicultural Archives (CEMA) o Archivos Etnicos y Multiculturales
de California de la Universidad de California en Santa Barbara.
El énfasis del Proyecto CARIDAD es el de coleccionar, organizar, duplicar y
catalogar un gran número de diapositivas de pinturas, carteles y murales de
artistas representados en las colecciones de archivos de cuatro centros culturales de
arte en California. El resultado ha sido una biblioteca de diapositivas de gran valor
para el estudio e investigación en la biblioteca de la Universidad de California
en Santa Barbara. Un grupo de diapositivas han sido seleccionadas para hacerlas
disponibles a la comunidad. Estas forman parte de los paquetes de artes visuales que
podrán pedirse en préstamo a los seleccionados centros culturales y
bibliotecas de California. La lista que contiene los nombres de estos sitios puede ser
solicitada por medio del Proyecto CARIDAD a la dirección indicada al final de esta
guía.
La guía fué publicada bajo los auspícios de la Galería de La
Raza de San Francisco, uno de los centros que han colaborado con el Proyecto CARIDAD. La
Galería publica una serie de folletos llamados: "Serie Monográfica de
Artistas Chicanos" que proporcionan información acerca de artistas chicanos, y que
son publicados en forma similar a esta guía.
INTRODUCCION AL ARTE CHICANO EN CALIFORNIA
El arte chicano es, en general, un arte de la comunidad que expresa las experiencias,
sentidos, ideas, y aspiraciones de la comunidad chicana. En los Estados Unidos, esta
comunidad chicana existe en toda su diversidad compuesta de ideas, géneros,
símbolos, e historia, con un factor unificante que es la historia de sus
orígenes culturales. El Movimiento de Arte Chicano nació de la
frustración, necesidad interna, y la lucha por los derechos civiles y culturales
de un pueblo ya una vez abondonado y hasta denigrado en este país, los
mexico-norteamericanos. Este movimiento refleja las expresiones culturales de los
mexico-norteamericanos, que con su considerable herencia política, cultural y
artística y con contribuciones a la cultura norte-americana enriquesen la historia
pluralística de California y Los Estados Unidos. Inclusive, sus obras, ideas, y
artistas suelen cruzar límites étnicos y culturales. Después de los
cambios demográficos recientes en California y en el resto del país, muchos
artistas del movimiento original, han tratado de desarrollarlo y redefinirlo. El arte
chicano es un medio activista, político (en el sentido de que nos hace tomar un
punto de vista), y didáctico, que pide que el interesado se eduque sobre el origen
cultural de la obra y las intenciones de los artistas para poder apreciar y comprender
tal arte.
Las primeras obras de la plástica chicana fueron creadas en las comunidades
campesinas del valle central de California durante los años sesentas cuando se
apoyaba la lucha laboral de César Chávez y al Teatro Campesino de Luis
Valdéz. Aquellas obras de arte de caracter chicano que después se
producieron en el area del suroeste, fueron inspiradas, con frecuencia, en el desarrollo
político y cultural de la clase humilde trabajadora de mexico-norteamericanos en
California. El movimiento de arte chicano ha existido como una comunidad relativamente
cohesiva e ideológica con aspiraciones culturales compartidas desde el movimiento
chicano estudiantil de los años sesenta, y ha producido un grupo considerable de
obras desde el año 1970, cuando el concepto de un "arte chicano" se
cristalizó.
Los historiadores de arte definen los movimientos artísticos como fenómenos
que se caracterizan por grupos de artistas que producen obras con características
y enfoque básicamente similares y definibles. La analogía de un banco de
peces que nadan juntos, es apropiada cuando se aplica al concepto de una escuela o grupo
de artistas, que de lejos parecen nadar juntos, a pesar de ligeras diferencias y
características individuales. En el caso de artistas chicanos/chicanas y sus
obras, se han auto-identificado, con gran simbolismo y auto-identificación como
artista chicano/chicana, tanto por los intereses socio-estéticos como por sus
obras que los une en las aguas creativas del arte norteamericano contemporaneo.
A pesar de que el termino "arte" abarca cada una de las actividades creativas que incluye
la música, baile, teatro, cine, y la literatura, es el objetivo de este ensayo y
el contenido en los archivos CARIDAD, enfocarse en "las artes plásticas o
visuales," y en aquellas formas de arte que proporcionan expresión "visual" del
pueblo chicano y su experiencia cultural a través de la pintura, el dibujo, las
artes gráficas, la fotografía, la escultura, y la arquitectura, tanto como
los mas recientes desarollos en el arte conceptual, "performance", multi-media, video, y
artes interdisciplinarias ya documentados en varios medios (incluyendo los
electrónicos). Dentro de lo que se crea con las manos se pueden incluir las artes
visuales, y este precisamente es el enfoque del proyecto documental de CARIDAD, que es,
en lo que se sabe, la primera colección de diapositivas reunidas en los Estados
Unidos que documenta sistemática y coherentemente la historia de un movimiento
vanguardista de arte norteamericano contemporaneo en todas sus formas. El enfoque es la
experiencia chicana en los Estados Unidos.
Aunque ejemplos de "arte chicano" se pueden remontar a medio de la década 1960, en
California no se desarrollo como estilo y movimiento definido en las artes visuales hasta
1970, cuando aparecieron las primeras obras con un estilo e identidad netamente
"chicana". Previamente, obras de artistas de ascendencia mexicana en este país se
habian influenciado por el "folk" tradicional y estilos artísticos decorativos.
Después de 1950 y con el ingreso de mexico-norteamericanos a universidades con
programas en las artes plásticas, varios artistas comenzaron a trabajar en el
estilos de vanguardia norteamericano como el Arte Abstracto, Pop, Minimalismo y el arte
Conceptual. Los eventos de importancia de 1969, en el "movimiento"
étnico-social-polítco chicano de los años 60 condujo directamente a
un movimiento concertado de artistas "mexico-norteamericanos" a crear un arte
público a beneficio de la revolución social chicana. Así mismo, este
grupo creo obras muy diferentes y originales en privado y en medios de arte no
públicos, tales como, pintura de caballete, fotografía, escultura,
"collage" y "assemblage" junto con nuevas formas de arte indígeno chicano. Estas
últimos son formas de arte y técnicos originarias o exclusivas de la
experiencia de arte chicano, como los coches "lowrider" de Magú creados como
esculturas con pinturas móviles; el arte "tortilla" de José Montoya o los
"modelos de papel" de Diane Gamboa y representaciones callejeras y rituales. Estas formas
artísticas tuvieron su origin en el movimiento de arte chicano como resultado de
la creatividad y originalidad de artistas chicanos y chicanas que se inspiraron en las
tradiciones y símbolos pre-hispanicas (pre-colombinos), tanto como en el arte
hispano y mexicano, al igual que en fuentes de arte contemporáneo americano y su
sociedad.
Por su carácter e origen distintivo, el arte chicano está basado en la
comunidad, y es un arte público y político que proclama y expresa intereses
sociales en sus temas y forma de expresión. Lo mismo sucede hasta en las obras
más íntimas, extravagantes, y o inicialmente incomprensibles, como las
obras del grupo conceptual ASCO.
El objetivo de este ensayo es el de introducir esta importante colección visual de
arte chicano, la cual contiene documentos visuales tanto de arte y su contexto como de
los artistas mismos que originaron y aun continuan viviendo la experiencia "chicana." Los
archivos CARIDAD constan de documentos de artes visuales de artistas californianos
(chicanos, chicanas, anglo-sajones, otros latinos y de origen mesclado) quienes han sido
asociados con el movimiento de arte chicano. La mayor parte de estos materiales se
obtuvieron de varios colectivos de arte que se han dedicado a la expresión de la
experiencia "chicana" que tiene como fundamento la pobreza económica y
alienación cultural dentro de la dominante realidad cultural anglo-sajona.
Esta colección histórica de diapositivas documenta el pasado y el presente
de cuatro centros históricos muy importantes en la producción y
exhibición del arte chicano en California. Proporcionará también
documentación visual, sin precedente, de la significante historia de arte y
cultura para el público en general de California. Lo importante es que el arte
chicano se creó para ser apreciado por todos, sin distinción de clase
étnica. El arte que ha sido documentado en diapositivas y que acompaña cada
paquete incluyen fotografías de obras de arte original, con numerosas
fotografías del proceso y contenido inter-diciplinario de produción y
exhibición del arte chicano, que suele dar un diferente significado al concepto
común de las artes visuales.
Los cuatro centros de arte chicano que componen la mayoría de la colección
tienen sus origenes en el movimiento socio-cultural chicano que se culminó en el
año 1969. El origen nacional y cultural del chicano es México, pero el
hecho de que los chicanos nacen y viven en los Estados Unidos, adaptando muchos de los
valores culturales de Norteamerica, los hace culturalmente distíntos a los
mexicanos e inmigrantes mexicanos quienes prefieren retener su cultura de origen,
frecuentemente fomentada por el mantenimiento de su lengua de orígen.
Recientemente, como se puede ver a través de las diapositivas que documentan las
actividades de los centros culturales chicanos, los inmigrantes de Centro, Sud America y
del Caribe, así como algunos euro-americanos han participado en varias
manifestaciones del arte chicano.
Los cuatro centros culturales de arte representados en los archivos CARIDAD, por ahora
incluyen "Self-Help Graphics, Inc.," una colectiva de carteles serigráficos
fundada en Los Angeles en el año 1972 por una monja de la orden Franciscana, la
Hermana Karen Boccalero. El objetivo de la colectiva es producir carteles de alta calidad
(serígrafos) y de nivel profesional, por artistas chicanos que, por medio del arte
público, han expresado con orgullo su identidad cultural e indigena a
través de los "Silk Screen Ateliers" (Talleres de Serigrafía). La Hermana
Karen Boccalero con su dedicación idealista y con su personal asistente, han
inspirado a través de los años a los jovenes artistas con el resultado de
la producción de las serigrafías en estos talleres también llamados
"Atelier." Asímismo, de mucha importancia, es la extensa colección de
diapositivas que documentan las actividades del centro y promueven los programas
educativos e inovadores en la comunidad. Las diapositivas que documentan la
celebración del Día de los Muertos (1ro de Noviembre) en Los Angeles y
otras ciudades Californianas es de un gran valor histórico. Inclusive, los cuatro
centros siguen aun participando en programas culturales y artísticos, importantes
para la juventud, que fomentan el interés y desarrollo de las contribuciones
culturales y artísticas en la comunidad chicano-latina en California. Estas por lo
tanto facilitan el conocimiento del arte tanto nortemericano como universal a las
comunidades con desventajas económicas.
La Galería de la Raza, se fundó en 1970 por el artista conceptual chicano
René Yañez, y el ya fallecido Ralph Maradiaga (especialista en la
serigrafía), junto con un grupo de artistas latinos procedentes de la bahía
de San Francisco. Por cerca de dos decadas, Yáñez y Maradiaga administraron
las actividades y dirigeron el Programa de exhibiciones de la Galería, considerada
como una de las más importantes galerías del país. Su programa
educativo y tienda/librería Studio 24 fue fundado por María Pinedo en 1980,
su gerente actual. Studio 24 es un centro de difusión de libros, musica, y arte
popular de Mexico y la America Latina. Galería de la Raza ha surgido en la
vanguardia de ideas y formas nuevas de la expresión artística del chicano
en California. Se ha utilizado para exhibir el arte chicano/latino progresivo y
tradicional con sus diversos estilos e influencias y como centro de la comunidad para la
enseñanza y apreciación del arte y la cultura. La Galería, como los
otros centros en los Archivos, fué instrumental en la organización y
fundación del Movimiento Chicano Muralista en San Francisco, que empezó en
los años setentas. Con la población inmigrante del latino-americano y del
Tercer Mundo al distrito de la Misión, donde se encuentra la Galería, esta
continua siendo una dedicada organización chicana/latina con seguidores en toda
America Latina.
El Centro Cultural de la Raza de San Diego, que igualmente fué fundado como
colectiva multi-diciplinaria de artistas en 1970, dió comienzo al
indigenísmo del arte chicano de Aztlán en la primera etapa (1970-1975). Uno
de sus fundadores, el célebre poeta chicano Alurista, fué clave en la
dirección del centro. Contactos e intercambios culturales fueron iniciados con
grupos de artistas indígenas de Norte America y grupos de actuación y baile
indígenas mexicanos, como Los Mascarones y Los Concheros. Huvo varios grupos
mexicanos de danza folklórica que contribuyeron a los movimientos chicanos de
baile y arte por todo el sudoeste y poco después en toda la nación. Victor
Ochoa, otro miembro fundador que aun sigue asociando con el centro, también
desarrolló un papel clave en la formación de la colectiva Toltecas de
Aztlán, originalmente localizado en El Centro y que contribuyó a la
fenomenal campaña muralista el "Chicano Park" (Parque Chicano) de San Diego.
Como punto final, que se puede llamar esencial en la cronología del arte chicano
en California, es la compañía RCAF, (Royal Chicano Air Force). Esta
fué fundada en Sacramento en 1969, por los artistas veteranos chicanos José
Montoya y Esteban Villa. El nombre original de este grupo fue el de "Rebel Chicano Art
Front" así nombrado en homenaje a "Vietnamese National Liberation Front" (El
Frente Nacional de Liberación del Vietnam del Sur) y otros movimientos de
liberación del Tercer Mundo que en esos tiempos tomaban fuerza. Estos dos artistas
habian sido ya antes asociados con la colectiva pionera de la bahía de San
Francisco llamada el "Mexican American Liberation Art Front (MALAF) fundada a principios
de 1969. Los archivos del RCAF/Centro de Artistas Chicanos de Sacramento es una
colección completa de un esfuerzo comunal del movimiento de arte chicano que
produjo varios artistas chicanos y chicanas, ahora prominentes y esparcidos en todo los
Estados Unidos. El programa que mantiene RCAF en la comunidad, donde imparten
educación del arte a la juventud, es un programa modelo con responsabilidad
humanistica en el arte contemporaneo y chicano.
La Universidad de California en Santa Barbara, lugar donde se originó
El
Plan de Santa Barbara,
el manifesto chicano de auto-determinación con
promesas a la comunidad, se publicó en 1969. Aquí estamos de nuevo en la
Universidad de California, aceptando al arte chicano como un movimiento auténtico
y legítimo del arte contemporaneo. El Proyecto CARIDAD a tomado con entusiasmo la
responsabilidad de adquisición, preservación y difusión de este
material histórico e importantísimo, no sólo para la historia
chicana, sino también para la historia del arte contemporáneo
norteamericano.
SUGGESTED READINGS
BIBLIOGRAFIA SELECTA
Barnett, Alan W.
Community Murals: The People's Art. Philadelphia,
PA: Art Alliance Press, c1984. 516p.
Documents the first fourteen years (1967-1981) of the community-based mural movement
throughout the U.S. Discusses its history, obstacles and problems and the means utilized
to overcome them. Includes largely black and white illustrations and a bibliography.
Documenta los primeros catorce años (1967-1981) del movimiento muralista en los
Estados Unidos. Habla de su historia, obstáculos, problemas y maneras para
vencerlos. Incluye ilustraciones en blanco y negro y bibliografía.
Beardsley, John.
Hispanic Art in the United States: Thirty Contemporary
Painters and Sculptors.
With an essay by: Octavio Paz. New York: Abbevile Press,
1987. 260p.
Includes several essays discussing various facets of Latino art and society. Also
features artists' biographies and bibliographies accompanied by many vivid full-color
illustrations.
Incluye varios ensayos que hablan de las varias facetas de la sociedad y el arte hispano
en los Estados Unidos. Contiene biografías de los artistas, bibliografías e
ilustraciones.
Cancel, Luis R., et al.
The Latin American Spirit: Art and Artists in the
United States, 1920-1970: Essays.
New York, NY: Bronx Museum of the Arts in
association with Harry N. Abrams, 1988. 343p.
Various essays documenting and examining the participation and influence of Latin
American artists in the cultural life of the United States. Features a vast number of
stunning illustrations depicting diverse forms and styles.
Contiene ensayos documentando y examinando la participación e influencia de
artistas latino-americanos en la vida cultural de los Estados Unidos. Incluye numerosas y
atractivas ilustraciones representando diversas formas y estilos.
Chicana Voices and Visions: A National Exhibit of Women Artists: 27
Artists from Arizona, California, Colorado, Michigan, New Mexico, and Texas.
Coordinated by: Mary-Linn Hughes. Venice, CA: Social and Public Arts Resource
Center, c1983. 26p.
Discusses the emergence of Chicana artists and their evolution. Provides brief
expressions by the artists regarding their art work. Sparsely illustrated in black and
white.
Una examinación del surgimiento de artistas chicanas y su evolución con
breves comentarios de las artistas con respecto a sus obras. Algunas ilustraciones en
blanco y negro.
Chicano Art History: A Book of Selected Readings. Quirarte,
Jacinto, ed. San Antonio, TX: Research Center for the Arts and Humanities, University of
Texas at San Antonio, c1984. 137p.
An anthology of previously published articles on Chicano art. It also offers a glossary
of terms and names of historical figures related to Chicano art.
Una antología de artículos previamente publicados sobre el arte chicano.
También contiene un glosario sobre nombres y terminos relacionados con el arte
chicano.
Chicano Expressions: A New View in American Art: April 14-July 31, 1986.Director: Lockpez, Inverna et al. New York, NY: INTAR Latin American Gallery,
c1986. 48p.
An exhibition tracing the evolution of urban mass culture. Replete with color and black
and white reproductions and offers essays covering the visual arts, graphic arts, mural
art and religious folk art.
Un catálogo de exhibición que remonta la evolución y cultura de las
masas urbanas. Le acompañan numerosas reproducciones de arte a color y blanco y
negro, y ofrece ensayos en las artes visuales, arte gráfico, arte muralista, al
igual que arte religioso popular.
Comité Chicanarte. Chicanarte: An Exhibition. Los Angeles,
CA: Comité Chicanarte, c1976. 108p.
Catalog of an exhibition of 102 California artists. Mainly a black and white illustrative
book created to preserve and promote the vibrant expressions of the Chicano artist,
portraying various aspects of Chicano life.
Catálogo de exhibición de 102 artistas de California. Esencialmente un
libro con reproducciones en blanco y negro elaborado para preservar y promover las
expresiones vibrantes de los artistas chicanos, representando los diferentes aspectos de
la vida chicana.
Dale Gas: An Exhibition of Contemporary Chicano Art. Curator:
Martínez, Santos. Houston, TX: Contemporary Arts Museum, 1977. 72p.
A historical overview of Chicano art which traces the lives of several artists, offering
inside stories on the subject. Bibliography included.
Recuento histórico del arte chicano-tejano que investiga las raices y la vida de
varios artistas y ofrece relatos en estos temas. Contiene bibliografía.
Favela, Ramón.
The Art of Rupert García: A Survey
Exhibition, August 20, October 19, 1986.
San Francisco, CA: San Francisco
Chronicle Books, c1986. 96p.
This book is the first scholarly exhibition catalog to examine a Chicano artist's work.
Included are fifty-five beautiful full-color illustrations of a representative selection
of García's silkscreens and pastel paintings, biography and bibliography.
Uno de los primeros trabajos documentados que se ha publicado sobre las obras de un
artista chicano. Son incluidas cincuenta y cinco bellas ilustraciones a color de una
selección representativa de serigrafías, carteles y pinturas al pastel. Una
biografía y bibliografía forman parte de esta obra.
Goldman, Shifra M.
Arte Chicano: A Comprehensive Annotated Bibliography of
Chicano Art, 1965-1981.
Goldman, Shifra M. and Tomás Ybarra-Frausto,
comps. Berkeley, CA: Chicano Studies Library Publications Unit, University of California
at Berkeley, 1985. viii, 778p.
Important bibliographic reference work which provides subject, author/artist and title
citations to articles, books, catalogs, exhibit brochures and art works. Includes an
introductory essay for the study of Chicano art.
Un importante libro bibliográfico de referencia que contiene citas
hemerográficas, artículos, libros, catálogos, y folletos de
exhibiciones de arte y artistas chicanos. Incluye un ensayo sobre el estudio del arte
chicano.
Made in Aztlán. 1 ed. Brookman, Philip and Guillermo
Gómez-Peña, eds. San Diego, CA: Centro Cultural de la Raza, c1986.
116p.
Four essays attempting to put into perspective the attitudes and developments central to
the evolution of the Centro Cultural de la Raza. Photographs and illustrations included.
Cuatro ensayos que intentan poner en perspectiva las actitudes y el desarrollo
fundamentales para la evolución del Centro Cultural de la Raza. Fotografía
e ilustraciones son incluidas.
Mano a Mano Abstracción/Figuración: 16 Pintores Mexicano
Americanos y Latino Americanos del Area de la Bahía de San Francisco.
By:
Eduardo Carrillo, et al. Santa Cruz, CA: Art Museum of Santa Cruz County, 1988.
63p.
An attempt to rectify the lack of recognition of existing abstract currents in Chicano
and Latin American Art. Provides brief biographies of such artists complemented with
brilliant full-color illustrations.
Un esfuerzo a rectificar la falta de reconocimiento a las corrientes abstractas que
existen en el arte chicano y latino-americano. Contiene bibliografías cortas de
los artistas y complementadas con ilustraciones en vivos colores.
Quirarte, Jacinto.
Mexican American Artists. Austin, TX:
University of Texas Press, 1973. xxv, 149p. (The John Fielding and Lois Lasater Maher
series: 2).
Examines Mexican American artists' contributions to U.S. culture, while providing a
historical account of the various aspects that influenced contemporary Chicano artists.
Examina las contribuciones de artistas "mexico-norteamericanos" a la cultura de los
Estados Unidos, al mismo tiempo que proporciona un relato histórico de los varios
aspectos que influenciaron los artistas chicanos de la época contemporánea
Signs From the Heart: California Chicano Murals. Cockcroft, Eva
Sperling and Holly Barnet-Sanchez, eds. Venice, CA: Social and Public Art Resource
Center, c1990. 105p.
Featuring captivating illustrations, it includes four interpretive essays by Chicano
scholars revealing the development of the innovative Chicano art style.
Incluye cuatro ensayos interpretativos por investigadores del arte chicano que revelan la
evolución del estilo inovador del arte chicano. Le acompañan buenas
reproducciones a color de muy alta calidad.
A través de la Frontera. Coordinación por:
Rodriguez Pampolini, Ida. México City, México: Centro de Estudios
Económicos y Sociales del Tercer Mundo, A.C., Instituto de Investigaciones
Estéticas, UNAM, 1983. 241p.
Broadly examines many aspects of art and culture such as theater, music, films, and the
visual arts, while documenting the social and political issues related to the Mexican
immigrant. Copiously illustrated and entirely in Spanish.
Examina en general los varios aspectos de la producción del arte y cultura
mexico-norteamericano tales como teatro, música, cine y las artes visuales,
mientras que documenta los problemas socio-políticos con relacíon al
inmigrante mexicano. Contiene numerosas ilustraciones y esta publicado completamente en
español.
- Collection Overview
-
Collection Details
- Descriptive Summary
- Administrative Information
- Introduction
- List of Items in the Kit
- Appendix A About Proyecto CARIDAD
- Appendix B Proyecto CARIDAD
- Appendix C Designated Sites for Proyecto CARIDAD Chicano Visual Arts Kits
- Appendix D Chicano Art: A Resource Guide September 1991
- SUGGESTED READINGS BIBLIOGRAFIA SELECTA