1. zpvisual:

    Fronteriza (Sandra) | charcoal on paper. A simple portrait with symbols representing important things in Sandra’s life story. Going to be making serigraph (silkscreen) prints of this for a portfolio. #drawing #frontera #simple

    Artist: Zeque Penya
     

  2. eldonnews:

    In the latest issue learn about the legacy that Emigdio Vasquez left behind.

    CAM: Image: Emigdio Vasquez -“The Legacy of Cesar Chavez” 1997 mural, at Santa Ana College, in California.
     

  3. zpvisual:

    2/4 Waterbound Painting // www.zpvisual.com/waterbound #waterbound #border #frontera #water

    Artist: Zeque Penya
     

  4. John Valadez en résidence artistique au musée d’Aquitaine

    via Musée d’Aquitaine:
    Discover through the video, the backstages of the artistic residence of John Valadez at Musée d’Aquitaine in Bordeaux, France, for the exhibition “Chicano Dream”

    The Musée d’Aquitaine has chosen to exhibit the private collection of Richard Anthony “Cheech” Marin, the Los Angeles-based film director, actor and screenwriter. Over the last 30 years Cheech Marin has supported the greatest Mexican-American artists of Los Angeles.

    Chicano Dream' - Chicano Artists from the Cheech Marin Collection (1980-2010), runs from June 27th to October 26th 2014

     
     


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

    CAM: Emigdio Vasquez (Arizona 1939 - 2014) REST IN PEACE. I wanted to share my write up again as tribute to an amazing artist. I just learned Mr. Vasquez passed away last week (August 8, 2014) at the age of 74 years old. CHICANO ART MOVEMENT blog sends their condolences to the Vasquez family.

    chicanoartmovement:

    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.

    imageEmigdio 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.
    imageEmigdio 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.
    imageJose 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.
    imageHenry 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.
    imagePhoto 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
    imageEmigdio Vasquez - “Operation Gate Keeper” 22x55 1994


    More images visit: CHICANO ART MOVEMENT/Facebook page

     

  6. CHICANO ART MOVEMENT/ YouTube

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

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

     

  7. 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

     

  8. 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

     

  9. 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.

     


  10. 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

     

  11. 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)

     

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