Exploring three major hubs of muralist activity in California, where indigenist imagery is prevalent, Walls of Empowerment celebrates an aesthetic that seeks to firmly establish Chicana/o ...sociopolitical identity in U.S. territory. Providing readers with a history and genealogy of key muralists’ productions, Guisela Latorre also showcases new material and original research on works and artists never before examined in print. An art form often associated with male creative endeavors, muralism in fact reflects significant contributions by Chicana artists. Encompassing these and other aspects of contemporary dialogues, including the often tense relationship between graffiti and muralism, Walls of Empowerment is a comprehensive study that, unlike many previous endeavors, does not privilege non-public Latina/o art. In addition, Latorre introduces readers to the role of new media, including performance, sculpture, and digital technology, in shaping the muralist’s “canvas.” Drawing on nearly a decade of fieldwork, this timely endeavor highlights the ways in which California’s Mexican American communities have used images of indigenous peoples to raise awareness of the region’s original citizens. Latorre also casts murals as a radical force for decolonization and liberation, and she provides a stirring description of the decades, particularly the late 1960s through 1980s, that saw California’s rise as the epicenter of mural production. Blending the perspectives of art history and sociology with firsthand accounts drawn from artists’ interviews, Walls of Empowerment represents a crucial turning point in the study of these iconographic artifacts.
Exploring three major hubs of muralist activity in California, where indigenist imagery is prevalent,Walls of Empowermentcelebrates an aesthetic that seeks to firmly establish Chicana/o ...sociopolitical identity in U.S. territory. Providing readers with a history and genealogy of key muralists' productions, Guisela Latorre also showcases new material and original research on works and artists never before examined in print.
An art form often associated with male creative endeavors, muralism in fact reflects significant contributions by Chicana artists. Encompassing these and other aspects of contemporary dialogues, including the often tense relationship between graffiti and muralism,Walls of Empowermentis a comprehensive study that, unlike many previous endeavors, does not privilege non-public Latina/o art. In addition, Latorre introduces readers to the role of new media, including performance, sculpture, and digital technology, in shaping the muralist's "canvas."
Drawing on nearly a decade of fieldwork, this timely endeavor highlights the ways in which California's Mexican American communities have used images of indigenous peoples to raise awareness of the region's original citizens. Latorre also casts murals as a radical force for decolonization and liberation, and she provides a stirring description of the decades, particularly the late 1960s through 1980s, that saw California's rise as the epicenter of mural production. Blending the perspectives of art history and sociology with firsthand accounts drawn from artists' interviews,Walls of Empowermentrepresents a crucial turning point in the study of these iconographic artifacts.
This essay explores Richard Lou’s distinguished career as an artist, from his early work in San Diego/Tijuana in the 1980s to his current installation and performance pieces on topics such as hybrid ...identities, counter-storytelling, nationalism, and cultures of oppression. The diversity of his themes, coupled with the multiplicity of the artistic media he utilizes, points to the decisively unstable and overlapping identities he possesses as an artist yet firmly establishes the decolonizing and politically transformative mission of his œuvre.
While neoliberalism has become a fairly unambiguous locus of feminist protest and critique, cultural representation-whether it be art, film, literature or mass media-has emerged as a more ambivalent ...site of feminist contestation. Wanting to close this Frontiers issue with an essay that looks to the past and the future of anti-racist feminist writings, however, we decided to conclude 38.3 with the roundtable "Combahee River Collective Statement: A 40th Anniversary Retrospective," which featured the voices of numerous feminist scholars, thinkers, and activists who engaged the CRC statement as a living document that remains relevant to current struggles against race and gender oppression. ...this, our last introduction to a Frontiers issue, we would like to say that this journal opened to us an exciting and surprising world of feminist scholarship that we could never have known had we not worked on Frontiers.
Abstract (E) : Scholarly work on Chicana/o art for the past thirty years has privileged the political and social underpinnings that informed much of its production since the late 1960s. While this ...trend within the scholarship has been quite pertinent to the ideals of the Chicana/o arts movement, this intellectual approach has dominated the field at the expense of visual analyses. As an alternative to the often Eurocentric formal and iconographic analyses common in art history, this paper proposes turning to the cognitive and neural sciences to understand how Chicana artists use the visual emotively to incite a political consciousness in their viewers.
Abstract (F) : Les recherches académiques sur l’art des chicanos/as des trente dernières années ont toujours privilégié les bases politiques et sociales qui en sous-tendent la production depuis les années 60. Cette tendance de la recherche a toujours été fort pertinente eu égard des idéaux des mouvements artistiques chicanos/as, mais dans la mesure où elle a favorisé une lecture intellectuelle, elle a aussi provoqué une certaine désaffection pour l’analyse visuelle. Le présent article veut proposer une alternative aux analyses souvent eurocentriques et iconographiques qui dominent toujours l’histoire de l’art pour se tourner en revanche vers les sciences cognitives et neurologiques. Cette nouvelle orientation permet de comprendre comment les artistes chicanas se servent de l’image d’une manière plus émotionnelle dans l’espoir de produire une prise de conscience politique dans l’esprit des spectateurs.
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