Mujeres Activas en Letras y Cambio Social (MALCS)

CHICANAART AND SCHOLARSHIP ON THE INTERSTICES OF OUR DISCIPLINES

Author(s): Guisela M. Latorre
Source: Chicana/Latina Studies, Vol. 6, No. 2 (Spring 2007), pp. 10-21
Published by: Mujeres Activas en Letras y Cambio Social (MALCS)
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The feminist movement has made significant strides for women, but it
addresses issues that are not relevant to the barrio.. .1 don't really feel a part of

it. I find it basically an upper middle class, white woman's movement.

Judithe Hernandez

CHICANA
CHICANAART
ART AND
AND SCHOLARSHIP
SCHOLARSHIP ON THE
INTERSTICES OF OUR DISCIPLINES

Guisela
Guisela M.
M. Latorre
Latorre

Judithe Hernandez,1 emblematized the ambivalent relationship that Chicana

artists held with the feminist movement in the 1970s, a movement that, in
its early manifestations, failed to recognize that patriarchy was a system of

power predicated not only on gender oppression but also on class and racial
hierarchies. Like their male counterparts in the Chicana/o arts movement,
many Chicana artists committed themselves to the practice of a politically
motivated art that served as the artistic arm to the Chicano movement.
Much of their visual work echoed the growing nationalist vocabulary of el
movimientos political philosophies. Nevertheless, the specificity of women's
experience as well as their capacity for radical political actiona capacity in

women often not recognized by Chicano menbecame recurring motifs in

Chicana art, thus destabilizing the male-centered elements in the prevailing
nationalist aesthetic and ideology of the time.

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CHICANA ART AND SCHOLARSHIP

Images such as Ester Hernandez's 1976 etching Libertad depicting a young

Chicana resculpting the Statue of Liberty to resemble a Maya carving, and

Yolanda Lopez's pastel drawings (1978) that depicted herself, her mother, and
her grandmother in the role of the Virgin of Guadalupe were examples of
early Chicana art that placed women at the center of discourses on liberation
and decolonization. What seemed clear from works such as these was that the

ambivalence toward feminism felt by many Chicana artists was compounded

by an ambivalence regarding the gendered exclusions of Chicano nationalist
imagery. Thus, Chicana feminist aesthetics emerge from an interstitial and

bordered space wedged somewhere between feminist epistemologies and

Chicano nationalism, among other discourses, refusing to stake allegiances to

any one ideological camp. As Chicana feminist philosopher Gloria Anzaldua

argues, the borderlands are characterized by "ambivalence and unrest,"2 where
"dislocation is the norm."3 But borderlands, as sites of cultural production,
are also spaces of countless possibilities, where creativity breaks through
the bonds of convention and prescribed gender roles. It is here that I locate

Chicana artistic sensibilities, for this bordered position has catapulted Chicana
artists into the forefront of innovation and decolonizing visual discourses. In
this focused issue on art, the various scholars who contributed essays to this

volume articulate not only the innovative element and decolonizing qualities
in Chicana cultural production, but also the overlapping subjectivities,
contradicting experiences, and consciousness expressed in their work. Moving
away from one-dimensional visual and formal analyses so common to the
field of art history, the texts in this issue skillfully address the various levels of

complexity and meaning that inform Chicana creativity. Representing new and
exciting approaches to cultural production, the work of these scholars is boldly
interdisciplinary and multidisciplinary, necessary intellectual approaches for the
effective analysis of Chicana creative expressions.

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GUISELA M. LATORRE

Chicana artists have pioneered on many fronts, but none more thought
provoking and even controversial than in issues of sexuality within the

Chicana/o community. The politics of the early Chicano movement often

placed great emphasis on the vectors of class and race as critical factors

determining the Chicana/o community's history of disenfranchisement and

marginalization. Concerns over gender and sexuality were either relegated to
the margins or completely silenced. Many activists at the time, both male and
female, held the perception that these were Anglo-American issues that would
divide el movimiento and dilute its political effectiveness. Moreover, patriarchal

notions about women's prescribed roles within the domestic sphere and
their status as sexual objects to male desire were deeply ingrained in the minds
of numerous activists. Nevertheless, in other quarters the gender and sexual
revolution was well under way, prompting many Chicana activists to realize that,

as Alicia Gaspar de Alba points out, "patriarchy functions in insidious ways."4

Aside from insisting on the specificity of gender in their imagery, Chicana

artists began to break with the taboo on sexuality by producing work that
presented women as sexual subjects with agency over their own bodies, a far
cry from the objectifying, scantly clad Aztec princesses painted by Mexican
illustrator Jesus Helguera and often reproduced in calendars, murals, tattoo art,

and mostly male Chicano art throughout the U.S. Southwest. The painting
titled The Pomegranate (1994), created by Bay Area Chicana artist Maya

Gonzalez, depicts a Chicana dressed in black lingerie holding a pomegranate

and calavera as she seductively and defiantly returns the gaze of the spectator.

Ester Hernandez's serigraph La Ofrenda (1988) portrays an androgynous

looking Chicana in a punklike haircut who proudly displays a tattoo of the

Virgen de Guadalupe on her bare back. Both images graced the covers of two

important Chicana feminist anthologies, The Pomegranate on Living Chicana

Theory (1998, ed. CarlaTrujillo) and La Ofrenda on Chicana Lesbians: The

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CHICANA ART AND SCHOLARSHIP

Girls Our Mothers Warned Us About (1991, ed. Carla Trujillo). These two
works also celebrated women-centered desires while acknowledging the sexual
and gender diversity within the Chicana/o community. The emphasis on

sexuality also included queer interventions into traditional Mexican/Chicana/o

imagery as we see in the work of Los Angeles-based Chicana artist Alma Lopez,
who together with Maria Herrera-Sobek and myself contributed an essay to
this focused issue. In her digital print Ixta (1999), the artist cites the myth of

Ixtaccihuatl and Popocatepetl, better known as the "Legend of the Volcanoes,"

yet casts two young queer Chicanas in the roles of the doomed lovers.

Employing themes related to gender and sexuality, Chicana artists effectively

broke with the monolithic Chicano nationalist discourse. Images relating

to indigenous consciousness and identity were explored by Chicana and

Chicano artists. Nevertheless, many of the Chicano artists were celebrating
Chicanas/os' indigenous roots through monumental figures of Aztec warriors

and idyllic representations of pre-Columbian pyramids. Chicanas, however,

were more intently focused on the complex relationship between indigeneity
and the histories of colonialism and postcolonialism, as well as on the critical
social role that women held in many indigenous societies on both sides of the

U.S.-Mexico border. For instance, the work of Consuelo Jimenez Underwood

and Celia Herrera Rodriguezrigorously deconstructed and analyzed in
this focused issue by Constance Cortezaddresses the often painful history

of conquest, colonization, and devastation suffered by native populations in

the United States and Mexico, both past and present. Herrera Rodriguez's
mesmerizing multimedia installations and Jimenez Underwood's painstakingly
beautiful fiber arts both eloquently reflect the artistic legacies of indigenous

communities through form and content. The innovative way in which these
artists articulate native people's history and contemporary postcolonial
struggles is heightened by their pioneering use of new and cutting-edge media.

CHI CAN A/LATIN A STUDIES 6:2 SPRING 2007

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13

GUISELA M. LATORRE

Jimenez Underwood effectively politicizes the indigenous practice of weaving

by using the medium to denounce ill-treatment of undocumented immigrants
and the devastation of the environment in the name of colonization and
progress. Herrera Rodriguez, for her part, utilizes a combination of preexisting
materials and found objects to assemble installations that recount the effects

of colonialism on native peoples. While indigenous communities and nations

were clearly devastated by their contact with Europeans, Herrera Rodriguez

and Jimenez Underwoodwho are ofTepehuano and Huichol backgrounds,

respectivelyrepresent the resilient indigenous creativity that has survived and
thrived amid the ravages of colonialism, racism, and marginalization.

Indigeneity in the work by Chicana artists, however, has not functioned as an

aesthetic that necessarily erases the cross-culturalism and heterogeneity that does

exist within the Chicana/o community, nor does it ignore the counterhegemonic
alliances that occur among disenfranchised groups, in particular women. In this
issues essay by Laura E. Perez, the writer eloquently praises the decolonizing
and liberatory qualities expressed in the collaborative mural Maestrapeace (1994)
located in San Francisco's Mission District. Created with the participation of
Chicana artists Juana Alicia and Irene Perez, Maestrapeace celebrates women's
monumental contributions to global culture and includes the additional
collaboration of women artists across cultural and social spheres. While
Juana Alicia and Irene Perez focused their energies on the representation of

indigenous figures in the mural, namely Guatemalan peace activist Rigoberta

Menchu and Aztec moon goddess Coyolxauhqui, their contributions are

nevertheless contextualized within the overall multicultural theme of the mural's

iconography. Resisting the homogenizing discourse of multiculturalism and the

melting pot theory, Maestrapeace critically speaks to the real-life connections
between women without erasing the specificity of their experiences.

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CHICANA ART AND SCHOLARSHIP

The trail-blazing contributions made by Chicana artists to Chicana/o and

U.S. contemporary art in the realms of sexuality, coloniality, and heterogeneity
exhibit but a few of the innovations that characterize their work. The history

of Chicana artistic production is marked by a series of interventions into

established discourses as well as unique, creative contributions to the field of
cultural production. The scholarship on Chicana art has, therefore, necessarily

required an interdisciplinary and multifaceted methodological approach to

visual culture. This focused issue evolved from my desire to bring together
scholarship that had existed in a fragmented state as isolated articles in various
journals and anthologies over the past thirty years. In spite of the seemingly

disconnected relationship between these texts, I realized there were common

threads running through them, thus comprising what I felt was a cohesive

and autonomous body of work. Scholarship on Chicana art, which was

unapologetically feminist in its approach, engaged the fields of art history,

Chicana/o cultural studies, critical gender theory, and cultural analysis, among
other schools of thought, yet remained critical and ambivalent about all of
them. The writers shifted their focus according to the dynamic and changing
foci of Chicana artists' aesthetic sensibilities, conditioning these scholars to
become well versed in the various disciplines and intellectual traditions. This
focused issue of Chicana/'Latina Studies represents the first attempt to bring this

scholarship together in one volume, thus highlighting the critical dexterity and
intellectual genius of its proponents.

The issue also seeks to correct the overall paucity of scholarship on Chicana/o

and Latina/o art. In 2003 Rita Gonzalez published an eye-opening report

tided An Undocumented History that recorded the inclusion in the available art

historical scholarship and databases of "ninety-three mid-career and established

[Latina/o] artists whose work has been widely exhibited in group and solo
shows."5 The majority of these artists were either completely overlooked

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GUISELA M. LATORRE

or mentioned very briefly and superficially in popular surveys of modern/

contemporary art, such as Lisa Phillips's The American Century: Art and Culture,

19502000 (1999), and in widely used research databases such as the Art Index
Retrospective. Using primarily quantitative methods, Gonzalez concluded that
"Latino artists and institutions have yet to be adequately integrated into art

historical scholarship."6 While Gonzalez did not include gender as a parameter

in her analysis, it was clear from her numbers that these scholarly oversights

were even more egregious when it came to Chicana/Latina artists.

The contributors to this Chicana/Latina Studies issue on Chicana art are all
too conscious of the various institutionalized exclusions and erasures that

have deeply impeded the dissemination and serious examination of Chicana

art as a legitimized contemporary art movement. For this reason, a sense of
urgency and determination runs through the work of the contributors to this

volume. The scholarship included in this focused issue not only challenges the
voids and erasures that exist in the art historical canon, but also questions the

very structures and intellectual approaches to modern and contemporary art

traditionally taken up by art historians and critics. The professional detachment
and personal disengagement with the subject of study in much of the art history
literature has created a clearly delineated distinction between scholar and artist

as well as between intellectual and artistic sensibilities. Excellence in scholarship

is measured more by institutionally accepted research methodologies,
meticulous bibliographic referencing, and rigorous footnoting than by creative
thinking and innovative approaches to the analysis of art. Subjectivity, personal
inflections, and creativity are all signs of weak and illegitimate intellectual work
according to the art history standard. Rather than replicate the structures of
traditional art history, this issue includes new forms of intellectual work that
resist the artificial distinctions between the artistic and the intellectual, the

personal and the scholarly, thus disrupting the subject/object differentiation that

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CHICANA ART AND SCHOLARSHIP

is so dear to the discipline of art history. Laura E. Perez's text in this issue, for

instance, is a "Response" essay, a text that seeks to challenge traditional modes

of academic writing by questioning the often contrived distinction between

objective and subjective queries. "Responses" are reaction pieces that comment
on current artistic practices, and that meld creative and personal accounts with
intellectual analyses, thus allowing for a freer discussion of creative expression.

My own collaborative piece with Maria Herrera-Sobek and Alma Lopez is a

dialogic essay, a text that establishes a conversation not only with the work of
the artist but with the artist herself and her ideas. Instead of privileging the voice

of the scholar, as much art history scholarship does, we sought to highlight both

the images and the words of Alma Lopez, foregrounding them as focal points of
analysis and intellectual reflection.
The writers featured in this issue have made critical inroads in the fields
of feminism, Chicana/o studies, literature, art history, and more; they can
skillfully move within and between these fields with great intellectual agility.

Individually and collectively, they have shaped the emerging face of Chicana
art scholarship, making it a dynamic and fluid academic and activist movement

that has put various disciplines in dialogue with one another. Maria Herrera
Sobeka renowned senior scholar who has written extensively on literature,

folklore, and Chicana feminist thoughthas published the sole monograph on

a Chicana artist to date, namely her edited volume titled Santa Barraza, Artist

of the Borderlands (2001). Moreover, Herrera-Sobek has curated annual Chicana

art exhibitions on the campus of the University of California, Santa Barbara,
for ten years now, thus promoting and disseminating the work of Chicana
artists at the local and national levels. Constance Cortez, a trained art historian,

is well versed in Mesoamerican and contemporary Chicana/o art and keenly

understands the transhistorical and discursive connection between the two,
a connection that was interrupted and dislocated by colonialism's disruptive

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GUISELA M. LATORRE

influence. Her work on Chicana art is grounded on a profound understanding

of these artists' investment in preconquest indigenous cultures. Likewise, Laura
E. Perez understands indigeneity as a driving force behind Chicana creative
expressions while emphasizing the artists' expressions of indigenous spiritualities
as forms of decolonizing creativity. Perez's book Chicana Art: The Politics of
Spiritual and Aesthetic Altarities (Duke University Press, 2007), released at the
same time as this focused issue, is the most exhaustive monograph published
to date dedicated solely to the work of Chicana artists; it promises to shape the
nature of the emerging field of Chicana art and feminism. These three scholars
represent some of the most preeminent and innovative proponents of this field
and their contributions to this issue are the most current examples of their still

evolving decolonizing consciousness. Ha sido un placery honor trabajar con estas

colegas, companeras y comadres.

Notes
Quoted in Howard Kim, "Judithe Herndndez and a Glimpse at the Chicana Artist," Somos 2, no.

7 (October-November 1979): 10.

Gloria Anzaldua, Borderlands/La Frontera: The New Mestiza (San Francisco: aunt lute, 1987), 4.
Gloria Anzaldua, "Chicana Artists: Exploring Nepantla, el Lugar de la Frontera," in The Latino
Studies Reader: Culture, Economy, and Society, edited by Antonia Darder and Rodolfo D.

Torres (Maiden, Mass.: Blackwell, 1998), 165.

Alicia Gaspar de Alba, Chicano Art Inside!Outside the Master's House: Cultural Politics and the

CARA Exhibition (Austin: University of Texas Press, 1998), 127.

Rita Gonzalez, An Undocumented History: A Survey of Index Citations for Latino and Latina Artists

(Los Angeles: UCLA Chicano Studies Research Center, 2003), 2. Report available on-line at
http://www.chicano.ucla.edu/ (accessed 5 March 2007).
Ibid.

Chicana Art and Feminism: A Selected Bibliography

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CHICANA ART AND SCHOLARSHIP

Barnet-Sanchez, Holly. 2001. "Presence and Absence in the Work of Chicana Artists of the

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Cockcroft, Eva. 1997. "Women in the Community Mural Movement." Heresies, no. 1 (January):
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Cortez, Constance. 2005. "Carmen Lomas Garza." In The Oxford Encyclopedia of Latinos and
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Huacuja, Judith L. 2003. "Borderlands Critical Subjectivity in Recent Chicana Art." Frontiers 24,

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