Chicano Art Exam 3

Nepantla

The Nahuatl word for an in-between state, that uncertain terrain one crosses when moving from one place to another, when changing from one class, race, or sexual position to another, when traveling from the present identity into a new identity

Hybridity

The blurring of lines between 'low' and 'high' art, a mix of cultural traditions to create new art

Malinche

An interpreter for the Spanish during the conquest, known for giving birth to the first mestizo.

Liminal space

A space where border individuals, especially artists, exist in a state of 'Nepantla'.

Borderlands

 A home between two cultures; the one spot on earth that contains all other places within it

Institutional arena

An environment with its own specific demands and requirements, distinct from those it may advocate for.

Parity of representation

The principle of equal representation for all groups within the activities of museums, ensuring all social groups have equal access.

Post-Chicana/o

 Interrogating previous types of Chicano, historical revisionism, the moving and illustration of regional identities, presentation of powerful and positive identities; Less resistance and affirmation, more reckoning and sublimation

Post-movimiento

The contemporary (re)generation of Chicano/a Art, characterized by globalization and playful, varied mediums.

Transculturation

Art, discourse, production, and vocabulary are produced  by waves of migration of both people and ideas in both directions; a sense of trans-local positions, mobile identity, temporary coalitions, and solidarities across borders

Contact zone

Unstable spaces of multilingual negotiation, borrowing, and exchange, not defined by geography.

Slanguage

A term coined by Marrio Ybarra Jr. to describe a new street language focusing on redefining art-making through education and community.

Undocumented (Malaquias Montoya, 1981)

An artwork depicting a headless figure caught in barbed wire, symbolizing the plight of undocumented immigrants.

Border Door (Richard Lou, 1988)

A free-standing installation and performance piece. Went to neighborhoods to hand out keys to open the door, left keys on the door for people he didn’t encounter.

La Promesa de Loma Prieta (Juana Alicia, 1991-92)

Help students develop a framework to think about social actions and activisms, the campus shutdowns, various protests, marches on Sacramento, etc, that happen around the budget crisis and the privatization of education and their own place within them

Nepantla (Santa Barraza, 1995)

An artistic representation of identity intertwined with European and Indigenous elements.

I can’t imagine… (Daniel J. Martinez, 1993)

An interactive installation utilizing entry tags worn by visitors at the 1993 Whitney Biennial, addressing identity and experience.

C Jane Run (Consuelo Jimenez Underwood, 2016)

An installation representing caution in crossing borders through textiles and artistic signage.

Carne y Arena (Alejandro G. Inarritu and Emmanuel Lubezki, 2017)

A VR experience highlighting the immigrant experience at the U.S./Mexico border.

Cleansing of the Sentinels (Israel Campos, 2024)

An artwork symbolizing Los Angeles identity through cultural and artistic elements.

Back of Head (Salomón Huerta Cabeza, 1999)

Anonymous subject with back to viewer, had to hide identity to be recognized.

Codex Espangliensis (Guillermo Gomez-Peña, Enrique Chagoya, Felicia Rice, 2001)

Aztec codesies, mixing with American cultural icons

Slanguage studio Los Angeles (Mario Ybarra, Jr and Karla Diaz, 2002)

In Wilmington, CA, new street languages, the idea of how to understand conversations that redefine art making

Migrant Campsite, Ironwood, AZ (Delilah Montoya, 2004)

Seeing pink backpack, personal belongings, dark shape in foreground/shadow of human being flattened across the earth, border cuts through a whole community that used to be able to live together

Self-Portrait: Portrait of My Father, Manuel Fernandez (Carlee Fernandez, 2006)

Iconotrophic: takes iconic image and customizes it; dressed as her father

Giant Picnic (JR, October 8, 2017)

Eyes of a dreamer (child of undocumented immigrant); printed on a surface that touched both sides of the border

Ruins, near Chavez Ravine (Sandra de la Loza, 2018)

Found places. Foundations of a home that would have been there before, landscape photography to remember history, gentrification /transformation of neighborhoods who got pushed out/left

Malaquias Montoya, Undocumented, 1981

Richard Lou, Border Door, 1988

Juana Alicia, La Promesa de Loma Prieta; Que no se repita la historia (The promise of Loma Prieta: That History not repeat itself), 1991-92

Santa Barraza, Nepantla, 1995

Daniel J. Martinez, I can’t imagine…, 1993

Salomón Huerta Cabeza / Back of Head, 1999

Guillermo Gomez-Peña, Enrique Chagoya, Felicia Rice, Codex Espangliensis, 2001

Slanguage studio Los Angeles, founded 2002.

Delilah Montoya, Migrant Campsite, Ironwood, AZ, 2004

Carlee Fernandez, Self-Portrait: Portrait of My Father, Manuel Fernandez, 2006

Consuelo Underwood, C Jane Run, 2016

JR, Giant Picnic, October 8, 2017

Alejandro G. Inarritu and Emmanuel Lubezki, Carne y Arena (Meat and Sand), 2017. VR experience.

Sandra de la Loza, Ruins, near Chavez Ravine, 2018

Israel Campos, Cleansing of the Sentinels, 2024