Chicana Studies M175

Chicana Studies 10/2/208 Kim Martinez –Professor in Salt Lake City Utah Grounding within her own cultural practice = her work Swedish and Mexican-Mormon Catholic what happens with multiple identities is this a Chicana identity? Gender issues started with catholic and Mormon schism. Political painter: interested in talking about the way she sees the word interested in questioning it. Envious of Mormon youth meetings sibling rivalry. 2 brothers Neighborhood painting all of the population was disenfranchised wanted to give identity to them (but who am I to do that? Why am I painting like a dead European guy?) In this neighborhood didn’t want to be seen needed to be embedded within the community no camera pictures. Skeletons glass ceiling Rio Grande schism between US and Mexico Resilience= dog eat dog world Stream of conscious type painter. What is your creative process like? Mask hides person from addiction. Incessant need for physical and emotional nurturing Pachuca Communication through art Gandy dancing= black affiliation with railroad is major influence in Chicano migration. Low level job Grandfather was rail road layer so she mad painting about spontaneous communication happens by throwing paint Incarceration art Beneton using inmates to sell clothes and make fun of united states Hundreds of years ago death sentencing was about body but now its about soul being taken away from you Inside the cell no power not connected not grounded space is not allowing to be grounded not balanced out of control Be nice chair: same themes as before No power and seeing doorknob is frightening Night and day contrast of social humanity of capital punishment (public affair) no no respect for prisoners… what issues do you wish to bring up in your work? How has the chicana name affected your artwork in a social sense? Spacialization= everyone fits in a certain space Psychological space vs physical space Reconstruction and Deconstruction= art with HIV infectees Challenges and stereotypes that these people faced Nobody has a sense of touch Figuration becomes a way for her to examine stereotypes on people like her. Not real vulnerability Xphotos folk art painted on metal and tin miracles. Bright color is going to bring dark skin out or take away from it Direct gaze of women as a form of empowerment, mixed with heroine like figures. Constant movement symbolizes presence positions almost impossible