Latino Art in the US - Midterm Readings
Latino Art in the US - Midterm Readings ARTH 28700
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This 3 page Study Guide was uploaded by sconsidine on Thursday March 3, 2016. The Study Guide belongs to ARTH 28700 at Ithaca College taught by Professor Jennifer Jolly in Spring 2016. Since its upload, it has received 47 views. For similar materials see Latino Art in the US in Art History at Ithaca College.
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Date Created: 03/03/16
Montoya - Critical Perspectives on the State of Chicano Art -art must be a protest -Chicano artists began to united behind indigenous symbols of heritage -form of protest to required assimilation, kind of liberation -art originates in like experiences and common traditions -art of struggle could be produced with understanding of political content and beliefs behind a work -Chicano artwork originally had a powerful impact, but was somewhat hindered by middle-class Chicanos who did not really know what they were doing or the implications their actions would have -some Chicanos became involved in art movement that took away the legitimacy of their artwork, but allowed them pay -obviously some went with a traditional showing for personal gain, but some followed along with this plan in order to hopefully get Chicano ideas a wider scope -very minimally effective -white people were appropriating Chicano culture -some believe it is time for Chicanos to try and change the system -unrealistic - ruling class does not want to see a change -others recognize the unfairness of the system and see their only way to spread change through their art -art continues to have a political function -art has begun to bridge the gap and unify other minorities/marginalized groups -especially through the poster medium -movement for the struggle of all of the Third World -divisions centered on methods of exposure has become particularly dangerous -don’t want to use mainstream media and therefore validate it, some believe it offers good exposure (this is a kind of assimilation) -Chicanos cannot want validation from their critics and communities if they are also claimign oppression by the system -many centers forming in Chicano communities -these are government controlled and making Chicano artists compete against one another for funding -art that is sponsored must also be within certain guidelines -in order to be “successful” artists are forced to fall into the capitalist system -no funding or support otherwise -already racism present against them -no other means of making a living off of art -system began to operate in mural movement -system has to protect itself by controlling anything gaining power -murals were originally intended as a voice of protest, but is becoming controlled by the system -Chicano movement has come a long way, but still has a long way to go -must analyze which sources Chicano artists use as patrons -values must be re-examined along with the theme of Chicano art -Chicano must go back to its original goals and educate people in order to hope to come to a place of unity and understanding Gomez-Peña - The Multicultural Paradigm -time of transformation for American and Latin American culture - becoming intertwined -no dominant culture - just being displayed as such through the media -needs to be a better intercultural dialogue -many Americans are afraid of this cultural other -this is a political control mechanism -border culture will allow us to get past this fear and work on co-existing peacefully -must realize that all cultures/identities are in a constant state of change, redeﬁnition, and recontextualization -need a dialogue for this to happen -dialogue - 2 way ongoing communication between people and communities that enjoy equal negotiating power -in effective dialogue - we see ourselves from the standpoint of the ‘other’ and realize we don't have anything to fear -never have had effective dialogue between the First and Third Worlds -dialogue is the only way we can begin to have a sort of healing between cultures -mostly artists, writers, and arts administrators leading the effort of a dialogue -leaders of this effort - mainly women -the term Latino includes a variety of different cultures and people -those who have not been part of the national history of the U.S. have documented their history in other ways including art -to be avant-garde is to decentralize art and to be able to cross the border -able to operate in the world as a whole, not just the art world -constantly have to be reinventing language that is diverse and complex enough to be utilized by all cultures -border artists use experimental techniques and performance art practices to intervene in the world -if actions are not daring/surprising - won’t make a difference -experimentation nature of border art can be identiﬁed more as a political/cultural strategy -border artists understand that the need to be radical with experimentation and being innovative is only in order to help in generating a dialogue -rejection of unnecessary technology is not seen as a political stance which only adds to misunderstanding of their art -many Latinos who work in technology utilize it in a socially responsible manner to show contradictions between preindustrial past of the homeland and a postindustrial present that is in a permanent state of crisis -people need to work to understand the framework/context of Latino artistic expressions (other minorities) -Latinos/Latino culture is being viewed as fashionable - otherness has become desirable -leads to concerns with how culture/art is being presented -all Latinos are being described as the same and interchangeable and Latino art is undergoing decontextualization, curatorial eclecticism, folklorization, and exoticization -art is being described as irrational and primitive - making South seem like a wild and exotic area waiting to be discovered -Latino Boom has allowed for many Latino artists to be discovered, but this can ruin the artist -many Latino artists aspire to produce art for the goal of controlling their won political destiny and cultural expressions -Latino Boom is a media-produced mirage with the objective of expanding consumer power and to offer a new exotica to the American middle class -there is a multicultural fever that is plaguing the art community by combining cultures that have nothing in common except for otherness -multicultural can be seen as a bad term because of its tendency to describe a melting pot -multiculturalism must be reﬂected in the programs/publicity of an organization and in its administrative structure/members
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