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Latinx
This winter, Aperture magazine presents an issue that celebrates the dynamic visions of Latinx photography across the United States. Guest edited by Pilar Tompkins Rivas, chief curator at the Lucas Museum of Narrative Art in Los Angeles, "Latinx" spans a century of image making, connecting historical and contemporary photography, and covering the themes of political resistance, family and community, fashion and culture, and the complexity of identity in American life. In "Latinx," Carribean Fragoza traces Laura Aguilar's influence on queer artmaking. Joiri Minaya remixes postcards from the Dominican Republic to unveil the fantasy of tourism. Christina Catherine Martinez profiles Reynaldo Rivera, who chronicled 1990s-era Los Angeles nightlife. Yxta Maya Murry considers three Latina curators and writers influencing how photography canons are made today. "Collectively, their images cast a greater net for the multiple ways of seeing Latinx people," Tompkins Rivas notes of the issue's photographers, "creating a visual archive whose edges are yet to be defined."
L.A. Xicano
Catalog of exhibitions held at the Autry National Center, Los Angeles, Calif., Oct. 14-2011-Jan. 8, 2012, the Fowler Museum at UCLA, Los Angeles, Calif., Sept. 25, 2011-Feb. 26, 2012 and Oct. 16, 2011-Feb. 26, 2012, and LACMA, Los Angeles, Calif., Oct. 16, 2011-Jan. 22, 2012.
Latinx Photography in the United States
Shortlisted for the 2022 ASAP Book Prize, sponsored by the Association for the Study of Arts of the Present Showcases the exceptionally diverse photographic work of Latinx artists Whether at UFW picket lines in California’s Central Valley or capturing summertime street life in East Harlem Latinx photographers have documented fights for dignity and justice as well as the daily lives of ordinary people. Their powerful, innovative photographic art touches on family, identity, protest, borders, and other themes, including the experiences of immigration and marginalization common to many of their communities. Yet the work of these artists has largely been excluded from the documented history of...
A Universal History of Infamy
A Universal History of Infamy' was a multi-pronged exhibition that opened across three different art spaces in Los Angeles County, with the support of the Getty Foundation, under Pacific Standard Time: LA/LA. The ?A? in the title announces the shortcomings of any ?universal history? or comprehensive exhibition survey, which is particularly relevant considering the varied interests and experiences of US Latino and Latin American artists. The artists included upend any notion of absoluteness, whether it be in relationship to what defines Latin America, the art associated with it, or the methods of approaching its complex history. In addition to curatorial essays???all different in format and s...
Curating Differently
Exhibitionary spaces and curatorial strategies ideologically frame the encounter between art and its publics. For more than forty years, feminist art curating, as a practice of art interpretation and a politics of display, has intersected with the diverse area of feminist art historical research and feminist artistic practices. It is only recently, however, that a theorization of feminist art curating and feminist exhibition histories as a specific field of knowledge has emerged.Curating Differently is a collection of essays that offers critical perspectives on, and analyses of, the intersections of feminisms, art exhibitions, and curatorial spaces from the 1970s onward. It brings together c...
¡Printing the Revolution!
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.
We Make Each Other Beautiful
We Make Each Other Beautiful focuses on woman of color and queer of color artists and artist collectives who engage in direct political action as a part of their art practice. Defined by public protest, rule-breaking, rebellion, and resistance to governmental and institutional abuse, direct-action "artivism" draws on the aims, radical spirit, and tactics of the civil rights and feminist movements and on the struggles for disability rights, queer rights, and immigrant rights to seek legal and social change. Yxta Maya Murray traces the development of artivism as a practice from the Harlem Renaissance to Yoko Ono, Judy Baca, and Marsha P. Johnson. She also studies its role in transforming law and society. We Make Each Other Beautiful profiles the work and lives of four contemporary artivists —Carrie Mae Weems, Young Joon Kwak, Tanya Aguiñiga, and Imani Jacqueline Brown—and the artivist collective Drawn Together, combining new oral histories with sharp analyses of how their diverse and expansive artistic practices bear important aesthetic and politicolegal meanings that address a wide range of injustices.
East of East
East of East: The Making of Greater El Monte, is an edited collection of thirty-one essays that trace the experience of a California community over three centuries, from eighteenth-century Spanish colonization to twenty-first century globalization. Employing traditional historical scholarship, oral history, creative nonfiction and original art, the book provides a radical new history of El Monte and South El Monte, showing how interdisciplinary and community-engaged scholarship can break new ground in public history. East of East tells stories that have been excluded from dominant historical narratives—stories that long survived only in the popular memory of residents, as well as narratives that have been almost completely buried and all but forgotten. Its cast of characters includes white vigilantes, Mexican anarchists, Japanese farmers, labor organizers, civil rights pioneers, and punk rockers, as well as the ordinary and unnamed youth who generated a vibrant local culture at dances and dive bars.
Chicana/o Remix
Rewrites our understanding of the last 50 years of Chicana/o cultural production. Chicana/o Remix casts new light not only on artists—such as Sandra de la Loza, Judy Baca, and David Botello, among others—but on the exhibitions that feature their work, and the collectors, curators, critics, and advocates who engage it. Combining feminist theory, critical ethnic studies, art historical analysis, and extensive archival and field research, Karen Mary Davalos argues that narrow notions of identity, politics, and aesthetics limit our ability to understand the full capacities of Chicana/o art. She employs fresh vernacular concepts such as the “errata exhibit,” or the staging of exhibits tha...
Reclaiming the Americas
"Tatiana Reinoza examines how geography, immigration, and art all converged as deepening interests for Latinx graphic artists, specifically those working in different forms of printmaking. By highlighting the work of four artists, based out of four distinct studios in East LA, Tempe, Austin, and East Harlem, she is able to uncover how their work these past three decades has transcended the more defined lines of scholarship that focus on specific ethnic groups (Chicano, Puerto Rican, etc.). She makes a case for how spatial projects allow for a more collective critique of anti-immigrant discourse, visualize immigrant lives, and articulate the ways in which printmaking has been historically complicit in the colonizing of the Americas"--
