1. CHICANO ART MOVEMENT/ YouTube

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

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

     

  2. 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

     

  3. 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

     

  4. 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.

     


  5. CHICANO ART MOVEMENT attends: ‘A Tribute To Emigdio Vasquez’, From the Artists of OCLAN (Orange County Latino Artist Network) opening reception 2014

    CAM:
    On Saturday, March 1st, 2014 I attended the opening reception to 'A Tribute To Emigdio Vasquez', From the Artists of OCLAN (Orange County Latino Artist Network) at the Orange County Center For Contemporary Art (OCCCA) in the city of Santa Ana, California. Which will run March 1st-29th 2014.

    Emigdio Vasquez - (Left) “Hard Times” 36x46 1973 (Right) “Felix Camp” 30x36 1974


    The opening reception took place during the monthly Downtown Santa Ana Artwalk and my focus was on attending the exhibition at OCCCA to view the wonderful artworks by the Latino artists who were participating. Especially Mr. Emigdio Vasquez's artworks that were accumulated for his tribute. Previous to this showcase I had only been able to view his works individually in group shows and examine the murals he has created in the city of Orange, California. So partaking in this exhibit was a priority for me to survey the artist work. Walking into the gallery I first came upon two large majestic artworks by Emigdio. “Hard Times" from his Street Scenes series and "Felix Camp" from the Workers series. Which were impressive pieces to be received in with at the Orange County Center For Contemporary Art (OCCCA) space.
    Emigdio Vasquez - “A Sunday Afternoon at the Harmony Park” 20x35 1999


    Once in the main gallery at OCCCA I took notice that the weekends precipitation did not keep away people for the 'A Tribute To Emigdio Vasquez' exhibition. Which was healthily attended by supporters of the Chicano masters contributions to the movement. The exhibit did not just consist of Emigdio Vasquez's artworks, other participating exhibiting artists were:
    Jess Valenzuela, Abram Moya Jr, Matthew Barrios Southgate, Jose Lozano, Ben Valenzuela, Henry Godines, Rosemary V Tuthill, Gregg Stone, and Guillermo Avalos. Reception festivities included a live performance by the band Manos De Fuego, they covered some classic Santana tunes while I was in attendance and kept the atmosphere upbeat.
    Jose Lozano - “The Red Balloon Lounge” 2013


    It was also terrific to see my friend Jose Lozano’s artworks that were included in the show, and artist Henry Godines' fascinating, “5:30 PM Going Home" an Oil on masonite painting which had drawn me in with its surreal qualities. I contemplated on its subject matter and his attention to detail for sometime. Prior to leaving I even made a return trip to that specific artwork to bask in Mr. Godines' panel for another moment.
    Henry Godines - “5:30 PM Going Home” Oil on masonite panel 20x28 inches


    The main gallery at OCCCA housed the majority of Mr. Emigdio Vazquez's artworks in the exhibition. Recollecting, all the works in the A Tribute To Emigdio Vasquez were original paintings, from his many different series he has created through the decades as a professional artist. Walking through the exhibit each of Mr. Vasquez's paintings became more engaging and as a whole narrated a much broader account of his lifes work. My favored Emigdio Vasquez's artworks in the tribute exhibition had to be, “A Sunday Afternoon at the Harmony Park”, in which the artist has depicted the Pachuco culture in celebration, and “Operation Gate Keeper”, where he presents one of the many obstacles the undocumented face while in search of financial stability. In addition, both were prime examples of the artist signature style.
    Photo of Manos De Fuego live performance at ‘A Tribute To Emigdio Vasquez’, Orange County Center For Contemporary Art


    I would like to thank artists Emigdio Vasquez, Rosemary Vasquez-Tuthill, Jose Lozano, Henry Godines and Stephen Anderson, Executive Director at Orange County Center For Contemporary Art (OCCCA) for the opportunity to share artwork in the exhibition.

    For more information on 'A Tribute To Emigdio Vasquez', exhibition visit: www.occca.org
    Emigdio Vasquez - “Operation Gate Keeper” 22x55 1994


    More images visit: CHICANO ART MOVEMENT/Facebook page

     

  6. Photo credit: Dignidad Rebelde


    CAM:
    Emmanuel C Montoya - (Left) “Calaveras Nortenas” Serigraph / Silkscreen

    (Right) “Homage to Lydia Mendoza: La Reina Tejana” 1990, Linocut,

    (Source: dignidadrebelde)

     

  7. You can also visit us at: CHICANO ART MOVEMENT/Facebook page

     


  8. CHICANO ART MOVEMENT attends: Pasadena Museum of California Art (PMCA), opening reception for January - April 2014 exhibitions

    CAM:
    On Saturday January 18th, 2014 we attended the opening reception to Pasadena Museum of California Art’s (PMCA), January - April exhibitions. The exhibits on view were, Picturing Mexico: Alfredo Ramos Martínez in California (Main Gallery), Serigrafía (Back Gallery) and Flora Kao’s: Homestead (Project Room). This would also be our first visit to PMCA.
    (Left to Right) Artists: Leonard Castellanos, Esther Hernandez and Xavier Viramontes.


    Arriving at the Pasadena Museum of California Art our first viewing opportunities at the opening reception were, Flora Kao’s: Homestead and Picturing Mexico: Alfredo Ramos Martínez in California, but we made a direct line to the exhibition I had been anticipating since hearing about the January - April 2014 shows, Serigrafía, which was located in the Back Gallery at the museum. I was excited to view the array of vintage Chicano posters that were to be displayed, some of which I had only ever been able to examine in jpeg form or in art catalogs. Walking into the gallery where Serigrafía was exhibited we were instantly drawn in with the vibrant palette of colors and powerful positive chicano messages in the artworks. The inventory of posters presented consisted from recent to vintage, with a handful of digitally reproduced and the remainder being silkscreened prints.
    From what I gathered, the basis of the Segrafia exhibition was to survey the "tradition of information design in Califonia’s Latino culture" and "examines how both aesthetics and portability are key aspects of the prints as communicative and educational objects."
    (Xico Gonzalez - “ChePata” 2006 silkscreen)


    The posters that enticed me for a more meticulous observation in the Segrafia exhibition were, Esther Hernandez's, “Sun Mad" 1982, and Xaviver Viramotes’, “Boycott Grapes" 1973, which were created by the artists to bring fourth awareness of unsafe working conditions to farmworkers. Also notable was Xico Gonzalez’s “ChePata" 2006, a Che Guevara and Emiliano Zapata melded image which advocated against unjust immigration laws and practices of undocumented humans, along with Favianna Rodriguez's, “Resist U.S. Imperialism" 2003 print, which was a first-rate example of activist art.

    Artists also represented in the exhibition were Jesus Barraza, Barbara Carrasco, Rene Castro, Melanie Cervantes, Enrique Chagoya, Ricardo Favela, Juan R. Fuentes, Rupert Garcia, Daniel González, Yolanda M. López, Linda Lucero, Estria Miyashiro, Malaquias Montoya, Gilda Posada, Celina Rodriguez, Jos Sances, Mark Vallen, and Ernesto Yerena.

    This was a wonderful show that gave me a sense gratification being a guardian of Chicano prints and posters that are in my personal collection.
    Alfredo Ramos Martinez - (Left) “La India de Tehuantepec” (Mujer de Tehuantepec) ca. 1930 (Middle) “La Madre India” (Right) “La Malinche” ca. 1940

    After indulging and surveying Segrafia it was then time to move on and absorb some modern art history with the extraordinary Mexican artist Alfredo Ramos Matinez's (November 1871 - November 1946), Picturing Mexico: Alfredo Ramos Martínez in California, which was located in the Main Gallery and is the largest gallery space at the Pasadena Museum of California Art (PMCA)
    From my readings what I learned about the Picturing Mexico: Alfredo Ramos Martínez in California exhibition, is that it was to bring fourth his travel and artistic output in California. The exhibit is also going to be used to "advocate for the inclusion of his works in histories of the visual art traditions of the region and ultimately aims to inspire a richer and more complex understanding of American art."
    Picturing Mexico: Alfredo Ramos Martínez in California exhibition will also be traveling to the Nevada Museum of Art, May 10 to August 17, 2014.
    (Alfredo Ramos Martinez - “Las Floreras” 1933 oil on canvas)

    The first of Mr. Alfredo Ramos Martinez's beautiful artworks that lured me in the showcase was his largest and most prominent, "La Madre India" a grandeur work on paper which took and deserved the key real estate in the Main Gallery at the museum. When we walked into the gallery the room was filled and abuzz, you could feel the electricity from the enamored patrons. I have to say, I was very impressed with the mass amount of artworks accumulated for Mr. Alfredo Ramos Martinez's exhibition which took every bit of wall space to present. Picturing Mexico: Alfredo Ramos Martínez in California quickly became my favorite and the most stimulating of the three exhibitions at the Pasadena Museum of California Art (PMCA).
    The second piece that caught me was Mr. Martinez’s “Vendedora de Alcatraces”, 1929 oil on canvas, in which the calla lily’s depicted reminded of the paintings of maestro Diego Rivera’s Alcatraces, but the blossoms were completely in Alfredo Ramos Martinez's style.
    (Alfredo Ramos Martinez - “Vendedores de Frutas con Canastas” ca. 1946 silkscreen)


    After viewing those two major artworks Anita and I became captivated with every piece in the exhibit that proceeded. Other highlights for us included Mr. Alfredo Ramos Martinez's works on vintage newspaper and his vivid polychromatic paintings. One non-Martinez created piece that garnered most of our attention in the exhibition was an extraordinary intricate carved frame by Bernard Vandeuren, that was commissioned by a collector in 2010 for one of Alfredo Ramos Martinez's original paintings.
    I would like to acknowledge curator Amy Galpin, Ph. D, and give a Bravo! for an engaging and stimulating exhibit.
    (Gallery view of Flora Kao’s: Homestead exhibition)

    Our third and final stop at Pasadena Museum of California Art (PMCA) opening reception was Flora Kao's: Homestead exhibition, which was located in the Project Room gallery.
    The premise for Homestead was, "Flora Kao highlights the poignant histories of deserted shacks that dot the Mojave Desert, remnants of America’s most recent wave of manifest destiny. By virtue of the Small Tract Act of 1938"
    "Through life-size rubbings of each side of the dilapidated shack’s four walls, Kao captures the homestead at a specific moment in its decay."
    Flora Kao’s approach was very new to me exhibition wise, which made it that much more interesting to study. Walking into the Project Room gallery, my sense of smell was first activated with an almost musky odor lingering in the space, which I think came from the canvases absorbing the redolences of the Mojave desert. Then came the visual sensory, as the canvas rubbings surrounded us. I could vividly perceive myself in the Mojave Desert inside the exact same shack Flora used for the installations rubbings. All that was necessary to transpire for the complete experience was the sweltering heat and dust from the mostly barren wasteland for the full effect.


    I would like to thank Emma Jacobson-Sive, Director of Public Relations, the PMCA staff, artist and curators that were involved in all three exhibits at the Pasadena Museum of California Art.
    More info on these three amazing exhibitions visit: pmcaonline.org
    On view January 19–April 20, 2014

    More images of the opening reception exhibition also at: CHICANO ART MOVEMENT/Facebook page

     

  9. stuckuppiece:

    Amazing sticker by Chaz Bojorquez from the 90s! Very kindly donated to Stuck-Up by artist Patrick Rocha!

     

  10. chicanoartmovement:

    Available for purchase: JOSE LOZANO - “La Marisoul” limited edition Serigraph


    CAM:
    Art collectors, museums and music enthusiast! My friend Chicano artist Jose Lozano is set to release his half of the edition of his “La Marisoul” print, which was produced at Self Help Graphics & Art in Boyle Heights, California by Master printer Jose Alpuche.
    The print first debuted at the Self Help Graphics & Art Print fair in July 2013.

    Info:
    Artist: Jose Lozano
    Title: La Marisoul
    Signed and numbered
    Medium: 7-color Serigraph
    Dims: 16x22in (image size)
    Edition size: 58 with 5 artist proofs
    Date: 2013


    For those of you not familiar with the artist La Marisoul, she is the lead singer of the L.A.-based band La Santa Cecilia.


    I visited Lozano at his home and took all the close up shots myself of the serigraph. The print is impressive in person with Jose’s always vibrant color palette, and the details in the artwork makes you want to gaze at it for hours.
    Lozano also mentioned to me La Marisoul has two of these prints in her collection.


    If you are interested in purchasing a “La Marisoul” limited edition print directly from the artist here is your opportunity.

    Email Jose Lozano at elquepinta@yahoo.com
    Mention CHICANO ART MOVEMENT tumblr blog or CHICANO ART MOVEMENT Facebook page when purchasing and receive the Chicano discount.

    Still available
     

  11. gravelmouth:

    • Gravelmouth Gallery invites you to the opening reception of PRINT PROVOCATEUR, works from the Serie Project, on Saturday, December 14, 2013 from 7-10pm. with music by Sweedish Erotica and cold libations provided by Pabst Blue Ribbon.

      **********************************************************
      In the 1960s and 1970s, the art of serigraphy, or screen printing as it is more commonly known, played a vital role in the Chicano art movement, and continues to reflect the Mexican American and Latino experience in the United States. Because this art form can be created in multiples, serigraphy has the ability to reach massive audiences and is therefore capable of promoting revolutionary thoughts and movements. Artists have and continue to use this power of multiples to communicate ideas that are often-time seen as radical.

      PRINT PROVOCATEUR is a selection of works from the Serie Project that highlights some of these radical ideas. With a mission to promote cultural diversity and a goal to achieve social change, the Serie Project offers an opportunity to view works that deal with issues of identity, immigration, violence and sexuality, and how these have shaped individuals and their personal human experience. 

      This exhibit features works by:
      Miguel Aragon
      Ruth Buentello
      Adriana Corral
      Carlos Donjuan
      Joey Fauerso
      Nahum Flores
      Scherezade Garcia
      Manuel Guerra
      John Hernandez
      Benito Huerta
      Alma Lopez
      Oscar Magallanes
      Paloma Mayorga
      Michael Menchaca
      Stephanie Mercado
      Rosemary Mesa
      Juan Mora
      Robbie Ortiz
      Poly Perez
      Osvaldo Ramirez Castillo
      Matthew Rodriguez
      and Ernesto Yerena

      PRINT PROVOCATEUR runs through January 11, 2013.
    1906 S. FloresSan Antonio, Texas 78204

     

  12. deyoungmuseum:

    Rest in peace, Nelson Mandela.

    Rupert Garcia (American, b. 1941). Free Nelson Mandela and All South African Political Prisoners, 1981. Color offset lithograph. Gift of Mr. and Mrs. Robert Marcus. 1990.1.155