Barbara Carrasco is an artist and muralist based in Los Angeles. Her works range from pen and ink drawings, to paintings, to posters and countless murals. Her artwork has been exhibited nationally and internationally. Barbara Carrasco is considered to be a renegade feminist. Her art is known for critiquing, dominant cultural stereotypes involving socioeconomic, race, gender and sexuality.(Revision history statistics "Barbara Carrasco" 2017)She is known for bringing awareness to the Chicano art movement and their sexist attitudes sometimes seen in Chicano art. Barbara Carrasco works in advocating to change treatment of women. I decided to do my research paper because I believe that there's a difference between how a Chicano depicts and paint …show more content…
When she was one year old her family moved to Los Angeles. In an oral interview, conducted in 1999 by Jeffrey Rangel for the Archives of American Art, Barbara Carrasco said that she remembers being poor and living off food stamps. They lived in government veteran housing in Culver City, her dad was a Korean World War II veteran.(Revision history statistics "Barbara Carrasco" 2017) Carrasco childhood was sometimes painful, she lived in a community mixed with Mexican-American and African-Americans. She was often teased by being light-skinned and having green eyes. She was referred to as La guera, meaning white girl. (Revision history statistics "Barbara Carrasco" 2017) She was perceived as being not truly a Mexican-American by her peers. Carrasco was often told by her peers to “take advantage of her light skinned” and that her struggles were not the same as a brown skin Mexican American. These comments, later inspired Carrasco and takes part of her artistic focus of attention. Carrasco graduated from UCLA, she was the first person in her family to graduate from college.She received her BFA in art from UCLA in 1978. (Revision history statistics "Barbara Carrasco" 2017)At UCLA, she was the first woman editor of the campus Chicano newspaper, La Gente. ("Oral history interview with Barbara Carrasco, 1999 April 13-26" 2017) Carrasco was also one of the first artists to join with Cesar Chavez's United Farm Workers (UFW) movement. A …show more content…
It was astonished by the mural’s size and colors. I got a pamphlet of what each of the scenes were depicted. Some of my favorite scenes were, Native hunting and gathering, the Last battle between Spanish, Mexicans, and Americans in the Mexican-American war, because it depicts Mexico’s independence from Spain. The image of Biddy Mason, last slave in Los Angeles that who turned into a real estate entrepreneur and philanthropist, the Great Depression scenes, the whitewashing of America Tropical, a mural that was created by David Alfaro Siqueiros, at Olvera Street, lastly the scene that got me emotional me was the Japanese incarceration. This scene was a reminder of the Mexicans incarceration that happened during 1771-1965. By looking at these scenes I could understand why the Community Redevelopment Agency wanted this Mural censored. A few of these images even though are true, they are troubling due to their true depictions of marginalized communities. They want to keep individuals away from the truth. For example, some may argue that the Japanese don’t want to be reminded of such negative part of their history. But I think being reminded of the bad times keeps individuals conscious of the cruel reality. By knowing the truth we can all work together to prevent from history repeating
Linda Viera Caballero, better known as La India, is a one of the best singer-songwriters in the latin music industry. Born on March 9, 1969, in Rio Piedras, Puerto Rico, La India was raised in the South Bronx area of New York City. Her parents left Puerto Rico soon after she was born and they moved in with her grandmother.
In chapter three of Guisela LaTorre’s book Walls of Empowerment, she discusses the problems with graffiti and mural art and compares graffiti to mural art. She also discusses the gender inequality within graffiti artists and muralists, the influences of graffiti on LA, and east coast influences on muralists in the 1980s. Finally, she concludes that although mural art gains more approval than graffiti, both art forms serve to reclaim space in which the government and society traditionally denied to disfranchised
In the mural,"Going to the Olympics" the painter Frank Romero portrays a wide variety of colors in his painting. The first thing I saw in the painting were most obviously the cars passing by with big hearts over them. This means that the drivers loved their cars maybe and loved to drive around Los Angeles. You can also see palm trees and the ocean behind the cars signifying that they're somewhere around Los Angeles where there is water. As we look up at the sky we can see an iron for some reason, a GoodYear Blimp which is quite common in the city of Los Angeles, a horse, and two men wrestling in the sky.
The art she created with ASCO was not a typical painting that would go into a museum’s collection. Chicanx art didn’t have much a meaning. Therefore, Valdez felt a bit discouraged to pursue a career in art. She knew art wouldn’t provide her with a decent lifestyle. Nonetheless, after working with ASCO, she saw a possibility for an art career.
I will be doing a study on Laurie Cabot. Laurie Cabot is a witch, author, artist, and businesswoman, who is one of the first people to help support witchcraft in the United States. She founded her own witchcraft tradition, the Cabot Tradition of the Science of Witchcraft, and the Witches’ League for Public Awareness. Laurie Cabot was born on March 6, 1933, first named as Mercedes Elizabeth Kearsey, in Wewoka, Oklahoma, before moving to Anaheim, California. Laurie Cabot was raised under the Catholic Church teachings, however, at a young age, Cabot was growing aware of her supernatural, or in other words, psychic, abilities.
In my visit to the Autry museum, I visited 2 exhibits; La Raza and Chicano Male Unbounded. Both of these exhibits combined teach us about resilience, collective action and the importance of recovering history. La Raza was an influential bilingual newspaper, published in Los Angeles from 1967-1977. La Raza provided a voice to the Chicano Right movement. La Raza photographers were not only journalists, but they were considered artist and activists.
The transformation of Olvera Street into a colorful tourist site attempted to hide its historical realities. When exiled Mexican artist David Alfaro Siqueros was commissioned to paint a mural, expectations were of an exotic jungle scene. However, when the mural was unveiled “all anticipations of an artwork depicting Southern California as an idyllic land of perpetual sunshine, the missions, and the open shop were instantly shattered.” Ameríca Tropical instead depicted the scene of a crucified Indian amid fallen pyramids, armed revolutionaries, and a bald eagle symbolizing Yankee imperialism. Estrada points out that Ameríca Tropical serves to explain how underlying forms of protest can clarify our understanding of the Plaza as an arena for the continued fight over historical narratives.
In society, there are several stereotypes and gender roles culturally influenced by women today. Cindy Sherman’s Untitled Film Stills series made between (1977-1980) shows different stereotypes of women in different everyday situations. This series consists of the artist posing as those female roles in seventy black and white photographs. In my opinion, by doing this series she challenges the way we view women regularly in pictures, by giving a different perspective. In this paper, I examine Cindy Sherman’s work and how my work is inspired by or relates to her work.
Chicano art as 3 common themes - Immigration, geography and displacement. Taking an activist stance, artists illustrate the historical presence of Mexicans and native people in the Southwest, the abuse of undocumented immigrants, racial profiling, and the militarization of the border. “Many Chicano artists have focused on the dangers of the border, often using barbed wire as a direct metaphorical representation of the painful and contradictory experiences of Chicanos caught between two cultures”. (Chicana and Chicano Art. Jackson, Carlos Francisco)
Her artworks also explore the themes of Mexican nationalism, indigenous painting
“The common denominator all Latinos have is that we want some respect. That 's what we 're all fighting for” - Cristina Saralegui. Judith Ortiz Cofer published the article, “The Myth of the Latin Woman,” where she expresses her anger towards stereotypes, inequality, and degradation of Latin Americans. Cofer explains the origins of these perceived views and proceeds to empower Latin American women to champion over them. Cofer establishes her credibility as a Latin American woman with personal anecdotes that emphasize her frustration of the unfair depiction of Latinos in society.
The Decolonial Imaginary, an undoubtedly challenging book that makes the reader question not only their knowledge of history and theory but also the way in which it has been told through the centuries. Emma Pérez, a Chicana historian with her bachelors, masters, and doctorate from the University of California, Los Angeles, put into perspective the ideas of Freud, Foucault, archeology and genealogy to lead the reader through the deconstruction of Chicana feminist historiography. Pérez then reconstruct history in a way that breaks the destructive cycles of patriarchy. She crosses many boarders as she takes nationalist history and traverses it into a Chicana Feminism, and by doing so she rewrites history from the perspective of a decolonial imaginary.
Magdalena Carmen Frida y Kahlo Calderon, also famously known as Frida Kahlo, is a famous female Mexican painter, born in 1907. She claims to be born in 1910 because that is the year Mexico was basically reborn, and also shows her strong connection with her country. Frida started painting at 19 years old, after her bus accident where she was bedridden in recovery for a long time. She always painted self-portraits of herself, which set the tone for her career in art. She quotes, ¨I paint my own reality,¨ basically explaining that she explains her life and what she goes through with paint and a canvas.
1. From Jason Johansen 's Notes on Chicano Cinema, scholars of Chicana/o cinema used to identify the criteria of Chicana/o cinema as "films BY Chicanos, films FOR Chicanos, and films ABOUT Chicanos" (Johansen 303). The Salt of the Earth film (1954) attempts to expand this definition because it achieves more than being for and about Chicanos, it can also be for other minorities fighting injustices and inequalities similar to Chicanos. The film is still for Chicanos because it illustrates an actual account of Mexican American mining workers in Zinc Town of New Mexico during World War II, where the union workers won due to their unity, inspiring others to stand with each other in the Chicano movement. The movie also challenges the criteria because it is a film directed by a non-Chicano, Herbert Biberman, but that inadequacy was compensated since most of the actors were local Mexican-American union associates who had experience and direct involvement in the historical fight for their rights.
She showed her paintings in Paris and Mexico afore her death in 1954. She was an astonishing female that was authentically emotional (in a good way) about her work .In 1922, she enrolled at the famous National Preparatory School. She was one of the few female students to attend the school, and she became kenned for her happy spirit and her love of traditional, colorful clothing and jewelry. In that same year famous Mexican artist who paints