Chicana/o Artivism: Judy Baca's Digital Work with Youth of Color

Part of the Volume on Learning Race and Ethnicity: Youth and Digital Media Astounding digital murals have emerged from the minds and souls of Chicana artist Judy Baca and the youth of color who have collaborated with her over the past ten years. Their workspace is SPARC, the Social and Public Art Resource Center, founded by Baca in 1996 and dedicated to the creation and support of community and public art in Southern California. But the digital art they produce is not only located in SPARC -- it can be found in virtual installations globally, as well as on the walls of Los Angeles barrio housing projects and in the hybrid spaces of the Internet. We call their activity "digital artivism," a word that is itself a convergence between "activism" and digital "artistic" production. The digital artivism we find expressed through SPARC, we argue, is symptomatic of a Chicana/o twenty-first century digital arts movement. This digital artivist movement also advances the expression of a mode of liberatory consciousness that Chicana feminist philosopher Gloria Anzaldua calls la conciencia de la mestiza, i.e. the radical consciousness of a mixed race peoples. Chela Sandoval and Guisela Latorre call attention to this mode of digital artivism enacted by Baca and young people who are vested in the convergences between creative expression, social activism, and self-empowerment

Democracy on the Wall: Street Art of the Post-Dictatorship Era in Chile

This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of The Ohio State University Libraries. Learn more at the TOME website, which can be found at the following web address: http://openmonographs.org.The return from clandestine anonymity: muralist brigades, revamped and renewed -- Open-sky museums and the decolonization of urban space -- Tagging the Chilean city: graffiti as individualized and collective praxis -- Public interventions and gender disruptions: graffiteras' urban transformations -- Conclusion: Transnational incursions in Chilean street art: globalizing the local and localizing the global

New Approaches to Chicana/o Art: The Visual and the Political as Cognitive Process

<p class="MsoNormal" style="text-justify: inter-ideograph; text-align: justify; margin: 0cm 0cm 0pt;"><span style="font-size: small;"><span style="font-family: Times New Roman;"><strong style="mso-bidi-font-weight: normal;"><span lang="EN-US">Abstract (E)</span></strong><span lang="EN-US">: Scholarly work on Chicana/o art for the past thirty years has privileged the political and social underpinnings that informed much of its production since the late 1960s. While this trend within the scholarship has been quite pertinent to the ideals of the Chicana/o arts movement, this intellectual approach has dominated the field at the expense of visual analyses. As an alternative to the often Eurocentric formal and iconographic analyses common in art history, this paper proposes turning to the cognitive and neural sciences to understand how Chicana artists use the visual emotively to incite a political consciousness in their viewers.</span></span></span></p><p class="MsoNormal" style="text-justify: inter-ideograph; text-align: justify; margin: 0cm 0cm 0pt;"><span lang="EN-US"><span style="font-family: Times New Roman; font-size: small;"> </span></span></p><p class="MsoNormal" style="text-justify: inter-ideograph; text-align: justify; margin: 0cm 0cm 0pt;"><span style="font-size: small;"><span style="font-family: Times New Roman;"><strong style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: FR;" lang="FR">Abstract (F)</span></strong><span style="mso-ansi-language: FR;" lang="FR">: Les recherches académiques sur l’art des chicanos/as des trente dernières années ont toujours privilégié les bases politiques et sociales qui en sous-tendent la production depuis les années 60. Cette tendance de la recherche a toujours été fort pertinente eu égard des idéaux des mouvements artistiques chicanos/as, mais dans la mesure où elle a favorisé une lecture intellectuelle, elle a aussi provoqué une certaine désaffection pour l’analyse visuelle. Le présent article veut proposer une alternative aux analyses souvent eurocentriques et iconographiques qui dominent toujours l’histoire de l’art pour se tourner en revanche vers les sciences cognitives et neurologiques. Cette nouvelle orientation permet de comprendre comment les artistes chicanas se servent de l’image d’une manière plus émotionnelle dans l’espoir de produire une prise de conscience politique dans l’esprit des spectateurs.</span></span></span></p&gt

Chicana /O Murals of California: Indigenist Aesthetics and the Politics of Space, 1970--2000

287 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2003.By depicting images of indigenous culture and history from the Americas, these artists embraced an aesthetic that rewrote their place in U.S. history and society. Indigenism, as an ideology and aesthetic, emerged during the early decades of the twentieth century in various parts of Latin America, but Mexico in particular. Unlike in Mexico, however, for Chicanas/os, Indigenism was not an institution supported and endorsed officially, but rather a discourse occurring at the margins of U.S. dominant culture. Chicanana/o murals, for the most part, did not grace the walls of major public and government buildings; rather, they decorated the walls along the streets of the barrios and urban neighborhoods through out the country.U of I OnlyRestricted to the U of I community idenfinitely during batch ingest of legacy ETD

Chicana /O Murals of California: Indigenist Aesthetics and the Politics of Space, 1970--2000

287 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2003.By depicting images of indigenous culture and history from the Americas, these artists embraced an aesthetic that rewrote their place in U.S. history and society. Indigenism, as an ideology and aesthetic, emerged during the early decades of the twentieth century in various parts of Latin America, but Mexico in particular. Unlike in Mexico, however, for Chicanas/os, Indigenism was not an institution supported and endorsed officially, but rather a discourse occurring at the margins of U.S. dominant culture. Chicanana/o murals, for the most part, did not grace the walls of major public and government buildings; rather, they decorated the walls along the streets of the barrios and urban neighborhoods through out the country.U of I OnlyRestricted to the U of I community idenfinitely during batch ingest of legacy ETD