1. CHICANO ART MOVEMENT presents: The artwork of Dora de Larios


    CAM:
    Here is my first installment, of hopefully, many slideshows to come that I have produced in celebration of the Chicana/o and Mexican-American artists who I consider to be significant contributors to the movement.
    The first artist to be showcased is Mexican-American artist Dora de Larios. Dora’s artworks have inspired me since first viewing them in a major Los Angeles event in 2011, and a few pieces were acquired along the way for my viewing pleasure. Dora’s artistic talents are manifested through the mediums of ceramics, sculpture, and prints, for example. All photos included in this slideshow were captured during my visits to her personal studio, museum, and gallery exhibits throughout the years which have lead, fortunately, to a friendly relationship with de Larios. She has graciously allowed me to document her work as well as share the personal stories behind her pieces.
    I thought that this visual manifestation would be another ingenious way to show her the support that I have of her life’s work.
    As an aspiring curator and art connoisseur, I thought this would be my creative way to display art to the masses (independent from any art institution) with an added a soundtrack for a lasting visual and auditory effect. Additionally, this visual slideshow accommodates those people who love art and who do not have the accessibility to the artists themselves nor to the venues of this section of American art.
    My goal is to also educate, inform, and, perhaps, give some form of inspiration to the present and future generations.

    All images are shared with permission of the artist.

    Slideshow production and photos by: Robert Carpintero (CHICANO ART MOVEMENT)
    Music: Song Of The Black Lizard Artist: Pink Martini

    www.doradelarios.com

    www.chicanoartmovement.tumblr.com
    www.facebook.com/chicanoartmovement.com

     
     

  2. CHICANO ART MOVEMENT/ YouTube

    Look who’s all grown up and got a YouTube channel!

    View us at: https://www.youtube.com/channel/UCpn8qjbVoEBk4gHdHVPAIGA

     

  3. paperdollsteph:

    Hooks-Epstein Galleries is pleased to announce, Print Perspectives, prints by gallery artists in conjunction with PrintHouston 2014. The exhibition will open on Saturday, June 7, 2014, with a reception for the artists from 6:00pm-8:00pm

    The exhibition will feature work by the following artists: Julie Brook Alexander, Wm. Kelly Bailey, Gregory Michael Carter, Kathryn Dunlevie, Teresa Dunn, James Falick, Desira Garcia, Leamon Green, Mark Greenwalt, Ann Johnson, Kurt Kemp, Edward Lane McCartney, Anna Mavromatis, Stephanie Mercado, Rahul Mitra, Kermit Oliver, Doug Randall, and John Mark Sager.

    Hooks-Epstein Galleries is proud to be a part of PrintHouston 2014! PrintHouston 2014 is a city-wide celebration of original prints, the artists who create them and the people who collect them. PrintHouston 2014 features an innovative series of print-inspired exhibitions at art galleries, art spaces, and museums throughout the city. A diverse selection of local, international, established, and emerging artists whose works fuse traditional styles of printmaking with contemporary ideas and aesthetics will be on display.

    Print Perspectives will continue through August 16, 2014.

     

  4. melaniecervantes:

    In xochitl, in cuicatl is Nahuatl for flower and song. Poetry and prayer. This print is a celebration of poetry and prayer in the Chicana/o community. The prints are available at MACLA in San Jose as part of their Community Supported Arts. #printmaking #screenprint #art #chicanoart

     

  5. Slipping Into Darkness - “Tell It Like It Is" (Video)

    Slipping Into Darkness is:

    Michael Durazo- Guitar,Vocals
    Nigel Dettelbach- Bass
    Adrian Carreno- Guitar
    Nigel Carnahan- Drums

    Influences: 50’s 60’s blues, 60’s and 70’s rock n roll, psychedelic, punk, and life.

    CAM:
    Desert Hot Springs own Slipping Into Darkness band will be releasing their debut album in the next coming months, so be on the look out for it.
    More info visit https://www.facebook.com/Slippingintodarknessmusic

     
     

  6. melaniecervantes:

    This summer @jesusvbarraza and I will be traveling to Bordeaux, France for the opening of this exhibit “Chicano Dream. We will both have several pieces in the exhibit. It will be our first time traveling to Europe. Wish us luck! #chicanodream #chicanoart #cheechmarin #art #screenprinting #dignidadrebelde

     

  7. robertvaladez:

    Rosita Adelita

    Via Robert Valadez: “Rosita” acrylic on canvas This painting was created based on an idea from my friend Isabel Morales,(who also posed for the picture). The image is based on the very famous “Rosie the Riveter” poster from World War ll. Here she is combined with another fictional pre-feminist archetype, La Adelita, a character of song and story who represented all the women who participated in the Mexican Revolution of the 1900’s. I paint her here with hopes that she may inspire a new Mexican Revolution.
     

  8. philiplumbang:

    The full set. @ernestoyerena #deadrelatives

    CAM: Artists Philip Lumbang and Ernesto Yerena “Dead Relatives” print set collaboration. 8 Open Edition Signed prints 4x6 inches (postcard size) Screen Prints Signed by both artists
     

  9. saldamando:

    La Sandraswitchblade

    colored pencil, spray paint, glitter on paper

    2014

    Artist: Shizu Saldamando
     

  10. philiplumbang:

    #deadrelatives #huglife @ernestoyerena

    CAM:Eagle of the Dead" Signed and Numbered. 8x10 inches Edition of 150 Signed by both Artists: Philip Lumbang & Ernesto Yerena
     

  11. melaniecervantes:

    Large wire bound sketchbooks made by Eberhardt Press are available at www.justseeds.org. This one features our Viva La Mujer design. #dignidadrebelde

     

  12. ASCO and Friends: Exiled Portraits

    Triangle France
    1er étage des magasins - bureau 1X0 Friche la Belle de Mai
    41 rue Jobin
    13003 Marseille
    T: +33 (0)4 95 04 96 11 contact(at)trianglefrance.org www.trianglefrance.org
    Triangle France is supported by
    the city of Marseilles, Conseil Régional PACA, Conseil Général 13, la DRAC PACA, and Système Friche Théâtre.

    LA-Based artists group ASCO, in Marseille (South of France).
    The show will take place in an industrial venue dedicated to contemporary art : La Friche la Belle de Mai (old tobacco factory transformed into artists’ studios and exhibition venue).

    The show will open in March along with a solo show by young LA-based artist Erika Vog


    Triangle France, The UCLA Chicano Studies Research Center and Le Cartel are pleased to announce ASCO and Friends: Exiled Portraits, the first major exhibition in France of works by the artist group ASCO, active in Los Angeles from 1972 to 1987. As a multi-disciplinary group who came of age during the Chicano movement, ASCO employed performance, photography, film, urban intervention and public art to respond to the social and political inequities that surrounded them. Throughout ASCO’s diverse practice, the concept of portraiture functioned in a counter-intuitive way, to simultaneously reject systems of erasure and to interject constructed images documenting an exiled, invisible group. Centering on works produced by the core founding members Harry Gamboa Jr, Gronk, Willie F. Herrón III, and Patssi Valdez, this exhibition looks at Asco’s conceptual and experimental works within the context of portraiture, community and social exile by exploring visual dialogues between the group and other artists of the same generation and locale, including Cyclona, Oscar Castillo, Jerry Dreva, John Valadez and Ricardo Valverde.
    In reaction to the absence of imagery of Chicanos in the collective media, ASCO appropriated cinematic strategies and crafted alternate narratives through self- documentation. These staged and constructed images are ironic to the extent that they put something new into circulation and public discourse, but they do so from the margins of an increasingly global media culture. Their works do not claim a neutral space from which the artists can proclaim a greater authenticity, reclaim lost traditions or engage in heroic depictions of an oppressed yet defiant people. Instead their images index a mythology of self within an unequal set of power relations. While that irony expresses itself differently among the artists in the group and the friends they collaborated with, in all cases the artists understand that they are documenting something that cannot be documented: the politics and the poetics of erasure.
    ASCO made use of both public and private portraits to build occluded narratives in their work. The artists imagined the city itself as a backdrop for documenting themselves and as terrain for street performances, often conflating these notions. In works such as Patssi Valdez
    with Self-Portrait (1972) by Harry Gamboa, Jr., Valdez is at once the sitter, performer, author and subject of the self-portrait painting next to her. Set on the street against a graffiti-covered wall, this photograph brings forward several levels of representation and complex interplay in one image. Similarly, interior portraits by ASCO and their friends depict “intimate” scenes in both authentic and inauthentic portrayals, thus signaling the private space as a location where certain kinds of social images are staged but at varying levels of disclosure. For example, NO MOVIE Six Chapters, (1978) by Gronk is suggestive of both a B-film narrative and early male “physique” photography, and touches on issues of gender and sexuality, while Ricardo Valverde’s nudes question the orthodoxy of staged family portraiture.
    In the realm of ASCO’s performances, portraiture factored as a mechanism for constructing the self in fotonovelas, and in public events such as fashion shows and award ceremonies that referenced celebrity culture. With an emphasis on conceptual narratives, the group’s charge derives from the affect associated with Hollywood film genres and how that industry blurs the distinction between production culture, publicity, and on-screen performance. Within these works, ASCO interposes an often absurdist self-portrait within the context of cinema and mass media, from which they felt excluded, while keeping the limits of these concepts flexible.
    The works in ASCO and Friends: Exiled Portraits look at questions of presence and absence within the collective’s production and associated artist friends. Notions of the ephemeral in ASCO’s practice, including concepts such as rumor, innuendo, and gossip, often supplant factuality in the photo documentation of their work. In that sense, they provide visible evidence of events, but often function as more of a provocation than an absolute or empirical truth. Through the visual dialogs created between their works and that of their friends, a larger depiction of the erasure of image and displacement of portraiture emerges from the context of the moment in which the works were made.
    Curators :
    Céline Kopp, Chon Noriega and Pilar Tompkins Rivas.