INSTRUCTIONS:
Please take note of the following information before completing this required course assignment:
· Please make sure to write THREE complete paragraphs when answering each question, as well as to use specific and properly cited examples when un-packaging each of your answers.
· Your citations should include the author's last name and page number for the citation (Example: (Ruiz, 154)).
· Please include timestamps to cite video content.
· This assignment consists of FIVE questions.
· Each question is worth 10 points.
· Please make sure that your answer is carefully organized.
QUESTIONS (5):
Question 1: After having read Dr. Elizabeth Fe
er’s “LA Chicanx” and considered Ha
y Gamboa, Jr.’s Chicano Male Unbonded and Laura Aguilar’s artistry, what two qualities make Gamboa, Jr and Aguilar’s photograph exhibitions a contribution to humanizing the Latinx experience? Why?
· It is important that you include at least two citations from Dr. Fe
er’s writing to unpack your answer.
· It is important that you cite two photographs comprising Ha
y Gamboa, Jr and Laura Aguilar’s artistry to answer this question. One photograph for each artist.
· Please make sure to write a THREE paragraph response to this question.
· Laura Aguilar: https:
news.artnet.com/art-world/getty-museum-acquired-35-photographs-laura-aguilar-late-los-angeles-photographer-explored-queer-latinx-identity XXXXXXXXXX
· (Links to an external site.)
· Ha
y Gamboa, Jr.: https:
theautry.org/press/autry-presents-ha
y-gamboa-jr-chicano-male-unbonded XXXXXXXXXX
(For Ha
y Gamnoa: https:
youtu.be/Z5PLyNANL8Q
For Laura Aguilar: https:
www.kcet.org/shows/artbound/episodes/no-trespassing-a-survey-of-environmental-art [In class we only watched 10 minutes of it starting at the time stamp 20 minutes])
Question 2: After having reflected on the migrant labor camp experiences at the center of Dr. Veronica Martinez-Matsuda’s Migrant Citizenship, which three specific questions would you ask if you had an opportunity to interview a person who labored as part of the migrant labor camp communities historicized in her book to understand the conditions and terms grounding migrant labor camps? Why?
· Please make sure to provide each of your THREE carefully crafted questions and a one-paragraph explanation for each question.
· Each of your questions should be specific, reflect your close reading of Migrant Citizenship, advance your investigation of the conditions and terms of migrant labor camp life.
· Each of your explanations should include a citation from Migrant Citizenship.
Question 3: After carefully considering the artwork of Ba
ara Ca
asco, please identify and explain TWO qualities framing her artwork that convey a hypermujerista imaginary?
· Your answer should be THREE paragraphs in length.
· Please consider the following featurettes when answering this question:
https:
lapca.org/exhibition/uncensored-l-a-history-a-mexican-perspective
https:
www.youtube.com/watch?v=vbpkYalrYBA
· Hypermujerista: A positionality that centers and magnifies the prerogatives, ideals, aspirations, doubts, fears, injuries, and priorities of women for women’s sake
Question 4: After having considered Dr. Vicki L. Ruiz’s discussion of the transformation of Luisa Moreno, what were three choices she made that convey her dedication to tackling the hyper-silences framing early twentieth century Latina women’s lives?
Hyper-silence:
· What is obviously pointed to and immediately neglected, dismissed, and/or drowned out
· Your answer should be three paragraphs in length and include three citations from Dr. Vicki L. Ruiz’s journal article.
Question 5: After learning more about the Chicana Por Mi Raza digital archive, which Chicana woman would you like to research and learn more about? Which three items comprising their digital archival presence informed your selection? Why?
· Please make sure to identify, describe,, and explain three items featured in this digital archive to support your answer.
· It is important that you provide the full name of the Chicana woman you would research, as well as that of the items.
· Your answer should be THREE paragraphs in length.
Chicana Por Mi Raza:
https:
chicanapormiraza.org
Item Example: "Latinas Impacting the Community Profile"
http:
chicanapormiraza.org
ecord/latinas-impacting-community-profile
University of Washington Press
Chapter Title: LA Chicanx
Book Title: Latinx Photography in the United States
Book Subtitle: A Visual History
Book Author(s): Elizabeth Fe
e
Published by: University of Washington Press. (2021)
Stable URL: https:
www.jstor.org/stable/j.ctv1f884k4.8
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
ange of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact XXXXXXXXXX.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https:
about.jstor.org/terms
University of Washington Press is collaborating with JSTOR to digitize, preserve and
extend access to Latinx Photography in the United States
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65
4
LA Chicanx
B y the 1980S, loS angeleS WaS the loCUS for a maturing community of Chicanx artists, one still deeply
committed to the ethos of the Chicano civil rights movement but whose work
also manifested a
oader set of interests and visual approaches. Thanks to
new tides of immigration, the Mexican population in the city was increasing
apidly, more than any other ethnic group. In fact, by the end of the 1980s, the
number of people of Mexican origin in LA was second only to the number in
Mexico City. The east side of the city—long home to a large and established
Mexican American population—experienced the a
ival of increasing num-
ers of Mexican immigrants, now joined by Central American immigrants.
Moreover, Latinx people were moving to other parts of the city, especially to
South Los Angeles, traditionally home to African American communities, and
nea
y subu
s.
For Chicanx artists in Los Angeles, an art movement that had begun in
the late 1960s as an outgrowth of civil rights struggles—once characterized
y such formats as muralism and printmaking—had grown into a vi
ant art
scene. A younger generation of artists was working with video, installation,
and conceptual approaches to art making. Others had turned to easel paint-
ing and were finding success exhibiting in commercial galleries. Significantly,
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66 ° ChaPter 4
especially by the end of the 1980s, Chicanx artists were receiving greater pub-
lic and critical recognition, even international attention. Le Démon des Anges
(The Devil of the Angels), a major 1989 exhibition organized by the Centre
de Recherche pour le Développement Culturel (Research Center for Cultural
Development) in Nantes, France, traveled to several European venues, intro-
ducing Chicanx artists to audiences a
oad.1
A major exhibition organized by UCLA’s Wight Gallery, Chicano Art: Resis-
tance and Affirmation (CARA), represented a true coming- of- age for Chicanx
art. Inaugurated in 1990 after years of research and planning by a team of Chi-
canx scholars and curators, CARA featured artwork by some ninety individual
artists and collectives from the earliest years of the movement through the
1980s. The traveling exhibition was seen by more people than any previous
exhibition of Chicanx art, appearing at ten venues across the United States
including the Denver Museum of Art, the National Museum of American Art
of the Smithsonian Institution, the San Francisco Museum of Modern Art, and
the Bronx Museum of the Arts. With such a large audience and presentation
at major institutions, CARA represented a watershed event for Chicanx artists
and for the art world, then beginning to take steps toward a more inclusive
em
ace of contemporary art. Contextualizing Chicanx art through the lens
of history and politics, it challenged art audiences and institutions to look
eyond Eurocentric na
atives and to understand Chicanx art as a dynamic
aspect of modern and contemporary American art.
CARA received extensive critical coverage, both positive and negative. Its
detractors, especially art critics who wrote for mainstream publications, faulted
the social and political framework of the exhibition or, more simply, the qual-
ity of the art itself. Eric Gibson, writing in the Washington Times, suggested
that the exhibition represented a visual form of affirmative action, writing, “it is
simply another attempt to cater to and/or pacify some political interest group
at the expense (as always) of any real aesthetic standards.”2 Nevertheless, CARA,
along with other shows, played a crucial role in
oadening the playing field
and in prompting
oad reexaminations of the power structures at work in
the art world. CARA and other exhibitions also illuminated growth and change
among Chicanx artists in the 1980s. Expanding beyond the roots of populist
art closely aligned with community activism, members of a new generation of
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la ChiCanx ° 67
Chicanx artists were increasingly working with new media and approaches and
tackling new subject matter.3
This move to mainstream acceptance, however, was not without contro-
versy. An influential article by artists Malaquias Montoya and Lezlie Salkowitz-
Montoya took Chicanx artists to task for seeking validation from mainstream
institutions and for moving away from the community focus and identity as a
“people’s art” that drove the early years of the movement. “Art that is produced
in conscious opposition to the art of the ruling class and those who control it
has, in most cases, been co- opted,” they wrote. “It has lost its effectiveness as
visual education working in resistance to cultural imperialism and the capital-
ist use of art for its market value.” And moreover, “Chicanos cannot claim to
e oppressed by a system and yet want validation by its critics as well as by the
communities. . . . It will be a victory when Chicano communities find Chicano
artists a success because they are viewed as spokespersons [and] citizens of
humanity, and their visual expressions viewed as an extension of themselves.”4
Shifra Goldman, a pioneering historian of Chicanx art, responded to these
arguments, labeling them separatist and stating, “By 1980 the Chicano move-
ment had attained many of [its] objectives, and can confront the mainstream
from a position of strength and self- awareness. Its vanguard—political mil-
itants, artists, intellectuals, self- education workers, students—now have the
twin obligation of disseminating and testing constantly evolving new ideas
within the U.S. Mexican community, and potential allies outside that com-
munity.”5
Amid this evolving and highly active art scene, Chicanx photographers
emained much less visible. Many remained devoted to documentary modes
and to chronicling the local scene, but by the 1980s, Chicanx photographers
were working with a multiplicity of approaches to communicate concerns
oth political and personal.
John Valadez (b. 1951, Los Angeles, California; based in Los Angeles), best
known as a painter, was photographing