Originating in the early seventies, Chicano art long remained unrecognised by the art and gallery world. This text features the work of 26 Chicano artists and marks the transition of this unique and exciting movement into the critical fold of contemporary art.
In cities and fields, Mexican American men are leading lives of quiet desperation. In this collection of thirteen startling stories, Rigoberto González weaves complex portraits of Latinos leading ordinary, practically invisible lives while navigating the dark waters of suppressed emotion—true-to-life characters who face emotional hurt, socioeconomic injustice, indignities in the workplace, or sexual repression. But because their culture expects men to symbolize power and control, they dare not risk succumbing to displays of weakness. González shines an empathetic light into the shadows of Mexican culture to portray characters who suffer in silence—men both straight and gay who must come to terms with their grief, loneliness, and pain. By exploring the private moments of men trapped inside unforgiving stereotypes, he critiques long-held assumptions of Latino behavior. He shows us individuals who must break out of various closets to become fully realized adults, and makes us feel the emotional pain of men in a culture that recognizes only the pain and hardship of women. Men without Bliss conveys the silent suffering of all men, not just Latinos. It will open readers’ eyes to unexpected facets of Latino culture, and perhaps of their own lives.
Printing and collecting the revolution : the rise and impact of Chicano graphics, 1965 to now / E. Carmen Ramos -- Aesthetics of the message : Chicana/o posters, 1965-1987 / Terezita Romo -- War at home : conceptual iconoclasm in American printmaking / Tatiana Reinoza -- Chicanx graphics in the digital age / Claudia E. Zapata.
The U.S.-Mexico border region is home to anthropologist Carlos VŽlez-Ib‡–ez. Into these pages he pours nearly half a century of searching and finding answers to the Mexican experience in the southwestern United States. He describes and analyzes the process, as generation upon generation of Mexicans moved north and attempted to create an identity or sense of cultural space and place. In todayÕs border fences he also sees barriers to how Mexicans understand themselves and how they are fundamentally understood. From prehistory to the present, VŽlez-Ib‡–ez traces the intense bumping among Native Americans, Spaniards, and Mexicans, as Mesoamerican populations and ideas moved northward. He demonstrates how cultural glue is constantly replenished by strengthening family ties that reach across both sides of the border. The author describes ways in which Mexicans have resisted and accommodated the dominant culture by creating communities and by forming labor unions, voluntary associations, and cultural movements. He analyzes the distribution of sadness, or overrepresentation of Mexicans in poverty, crime, illness, and war, and shows how that sadness is balanced by creative expressions of literature and art, especially mural art, in the ongoing search for space and place. Here is a book for the nineties and beyond, a book that relates to NAFTA, to complex questions of immigration, and to the expanding population of Mexicans in the U.S.-Mexico border region and other parts of the country. An important new volume for social science, humanities, and Latin American scholars, Border Visions will also attract general readers for its robust narrative and autobiographical edge. For all readers, the book points to new ways of seeing borders, whether they are visible walls of brick and stone or less visible, infinitely more powerful barriers of the mind.
Guadalupe Anaya, a waitress, is pregnant. She is also the newly elected block captain of Sunflower Street, in charge of raising awareness of safety in her southeast Albuquerque neighborhood. Her campaign platform: God helps those who help themselves. While she waits for the baby, Lupe writes letters to her unborn child, whom she names Destiny. It is Lupe’s dream that her daughter will be a writer, pushing a pen instead of a broom. In this highly imaginative work of fiction by the acclaimed author of Mother Tongue, Demetria Martínez weaves a portrait of six unforgettable characters, whose lives intertwine through their activism as they seek to create a better world and find meaning in their own lives. At the center of this circle of friends is Lupe, and her heartfelt letters to Destiny punctuate the narrative. Until she crossed the border alone and without papers, Lupe worked in a maquiladora in Mexico. Rescued by strangers, she has made a family for herself among the kindhearted friends, swept up in various causes, who will be her daughter’s godparents. Deftly alternating between first-person and second-person narratives, conscious states and dream states, The Block Captain’s Daughter is full of delightful surprises, even as it deals with universal themes of desire and risk, death and birth, and the powerful ties that bind us all together.
This anthology provides an overview of the history and theory of Chicano/a art from the 1960s to the present, emphasizing the debates and vocabularies that have played key roles in its conceptualization. In Chicano and Chicana Art—which includes many of Chicano/a art's landmark and foundational texts and manifestos—artists, curators, and cultural critics trace the development of Chicano/a art from its early role in the Chicano civil rights movement to its mainstream acceptance in American art institutions. Throughout this teaching-oriented volume they address a number of themes, including the politics of border life, public art practices such as posters and murals, and feminist and queer artists' figurations of Chicano/a bodies. They also chart the multiple cultural and artistic influences—from American graffiti and Mexican pre-Columbian spirituality to pop art and modernism—that have informed Chicano/a art's practice. Contributors. Carlos Almaraz, David Avalos, Judith F. Baca, Raye Bemis, Jo-Anne Berelowitz, Elizabeth Blair, Chaz Bojóroquez, Philip Brookman, Mel Casas, C. Ondine Chavoya, Karen Mary Davalos, Rupert García, Alicia Gaspar de Alba, Shifra Goldman, Jennifer A. González, Rita Gonzalez, Robb Hernández, Juan Felipe Herrera, Louis Hock, Nancy L. Kelker, Philip Kennicott, Josh Kun, Asta Kuusinen, Gilberto “Magu” Luján, Amelia Malagamba-Ansotegui, Amalia Mesa-Bains, Dylan Miner, Malaquias Montoya, Judithe Hernández de Neikrug, Chon Noriega, Joseph Palis, Laura Elisa Pérez, Peter Plagens, Catherine Ramírez, Matthew Reilly, James Rojas, Terezita Romo, Ralph Rugoff, Lezlie Salkowitz-Montoya, Marcos Sanchez-Tranquilino, Cylena Simonds, Elizabeth Sisco, John Tagg, Roberto Tejada, Rubén Trejo, Gabriela Valdivia, Tomás Ybarra-Frausto, Victor Zamudio-Taylor
Spanning a period of thirty years, a collection of eighteen short stories includes "Silence of the Llano,' "In search of Epifano," and "Children of the Desert."
In the shadow of the Sangre de Cristo Mountains, New Mexico’s Mora Valley harbors the ghosts of history: troubadours and soldiers, Plains Indians and settlers, families fleeing and finding home. There, more than a century ago, villagers collect scraps of paper documenting the valley’s history and their identity—military records, travelers’ diaries, newspaper articles, poetry, and more—and bind them into a leather portfolio known as “The Book of Archives.” When a bomb blast during the Mexican-American War scatters the book’s contents to the wind, the memory of the accounts lives on instead in the minds of Mora residents. Poets and storytellers pass down the valley’s traditions into the twentieth century, from one generation to the next. In this pathbreaking dual-language volume, author A. Gabriel Meléndez joins their ranks, continuing the retelling of Mora Valley’s tales for our time. A native of Mora with el don de la palabra, the divine gift of words, Meléndez mines historical sources and his own imagination to reconstruct the valley’s story, first in English and then in Spanish. He strings together humorous, tragic, and quotidian vignettes about historical events and unlikely occurrences, creating a vivid portrait of Mora, both in cultural memory and present reality. Local gossip and family legend intertwine with Spanish-language ballads and the poetry of New Mexico’s most famous dueling troubadours, Old Man Vilmas and the poet García. Drawing on New Mexican storytelling tradition, Meléndez weaves a colorful dual-language representation of a place whose irresistible characters and unforgettable events, and the inescapable truths they embody, still resonate today.