Young Adult, Children, and Adult Bibliography related to Lowrider culture, history, imagery, and symbols.
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Dr. Alicia Gaspar de Alba
“There’s No Place Like Aztlán: Embodied Aesthetics in Chicana Art,” The New Centennial Review 4.2 (2004): 103-140.
“Dorothy’s story is of interest to me because it illustrates issues that I have
been thinking about for a number of years about how artists living in exile—
diasporic artists, as well as artists who are indigenous but dispossessed
exiles in their own homeland—represent their journeys toward wholeness in
the absence of place, where place signifies a home, a nation, a community, a
landscape, or even a body. Amythology of place evolves, and the mythos gets
translated into what I call place-based aesthetics, a system of homeland representation that immigrants and natives alike develop to fill in the gaps of
Dr. Constance Cortez is the Associate Professor in Chicano/a Art History and Post Contact Art of Mexico at Texas Tech University.
Dr. Cortez teaches courses in Modern and Contemporary Art as well as in Colonial Art of Mexico. She publishes in two fields: Contemporary Chicano/a Art and Post-Contact Art of Mexico. Her two most recent volumes include Carmen Lomas Garza (Los Angeles and Minneapolis: UCLA Chicano Studies Research Center and the University of Minnesota Press, 2010) and Death and Afterlife in the Early Modern Hispanic World co-edited with John Beusterien (Minneapolis, Minnesota: University of Minnesota Press, 2010, Hispanic Issues Online). Cortez recently was recently awarded first place in the category of Best Arts Book (English) at the 2011 International Latino Book Awards.
Goldman’s first book, Contemporary Mexican Painting in a Time of Change, appeared in 1981, and she initiated and co-authored the bibliography and theoretical essay of Arte Chicano: A Comprehensive Annotated Bibliography of Chicano Art, 1965-1981 (1985) with Dr.Tomás Ybarra-Frausto.
In 1983 (along with Cecelia Klein), she proposed the original plan and served on the committee for the exhibit “CARA: Chicano Art: Resistance and Affirmation” which opened at UCLA in 1990. The book Dimensions of the Americas: Art and Social Change in Latin America and the United States, appeared in Dec. 1994. Goldman has major essays in a number of anthologies, and has published in Europe, Latin America and the United States. Her work can be found in catalogues, encyclopedias, and dictionaries, as well as newspapers and magazines like La Opinion, Artweek, Aztlan (California), Arte en Colombia/Art Nexus (Bogotá), Art in America, Art Journal (New York), New Art Examiner (Chicago), Art History (London), Casa de las Américas (Cuba), Plástica (Puerto Rico), Plural (Mexico), Studies in Popular Latin American Culture (New Mexico), Tendenzen (Munich),Third Text (London), and many more.
Rita Gonzalez, Howard N. Fox, and Chon Noriega
Phantom Sightings: Art after the Chicano Movement is the first comprehensive consideration of Chicano art in almost two decades and the largest exhibition of cutting-edge Chicano art ever presented. The exhibition explores the experimental tendencies within current Chicano art, which is oriented less toward painting and polemical assertion and more toward conceptual art, performance, film, photography, and media-based art, as well as “stealthy” artistic interventions in urban spaces. An exhibition catalog by co-curators Rita Gonzalez, Howard N. Fox, and Chon A. Noriega is available from the University of California Press. It contains three essays that explore the topic in depth as well as more than two hundred color illustrations, twenty-five individual artist portfolios, and a wryly subversive chronology of significant moments in Chicano cultural history. The exhibition, which opened at LACMA on September 2008, will travel in the United States and Mexico until June 2010.
Los Angeles County Museum of Art (LACMA), April 6 – September 1, 2008
Museo Tamayo de Arte Contemporáneo, Mexico City, October 16, 2008 – January 11, 2009
Museo Alameda, San Antonio, March 12 – June 14, 2009
Phoenix Art Museum, Phoenix, July 25 – October 4, 2009
Museo de Arte Zapopan, Guadalajara, November 6, 2009 – January 31, 2010
El Museo del Barrio & Americas Society, New York, March 21 – June 6, 2010
See http://www.chicano.ucla.edu/research/phantom.asp for more media coverage.
“National Camera: Photography and Mexico’s Image Environment” (University of Minnesota Press, 2009), and “Celia Alvarez Muñoz” (UCLA/CSRC; University of Minnesota Press, 2009). He has served also as co-curator on the exhibitions “Manuel Álvarez Bravo: Optical Parables” at the J. Paul Getty Museum (2001), and “Luis Gispert: Loud Image,” at the Hood Museum of Dartmouth College (2004). His research has earned awards from the Creative Capital | Warhol Foundation (2009) and from the National Endowment for the Arts (2007).
Asco: Elite of the Obscure, a Retrospective, 1972-1987,” the first survey of the group’s work, opens Sept. 4 as one of the Los Angeles County Museum’s main offerings for the sprawling Pacific Standard Time event, more than 60 collaborative shows opening throughout Southern California in the late summer and fall to tell the story of postwar Los Angeles art.
Judith L. Huacuja is a Chicana scholar researching Chicano, Latino and Latin American art activism in the Americas at the University of Dayton.
“Chicana Critical Pedagogies: Chicana Art as Critique and Intervention,” in Proceedings on The Interpretation and Representation of Latino Cultures, Research, and Museums, Washington, D.C.:Smithsonian Institution Press, forthcoming 2003.
“Borderlands Critical Subjectivity in Recent Chicana Art,” in Frontiers: Journal of Women’s Studies, Omaha: University of Nebraska Press, forthcoming 2003.
“Yolanda Lopez, Print Media Artist,” in St. James Guide to Hispanic Artists: Profiles of Latino and Latin American Artists, Farmington Hills, MI: St. James Press, 2002.
“Amalia Mesa-Bains, Multi-media Installation Artist,” in St. James Guide to Hispanic Artists: Profiles of Latino and Latin American Artists, Farmington, MI: St. James Press, 2002.