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chicanoartmovement · 6 days

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CHICANO ART MOVEMENT: “Las Manos de Aztlán” art talk with Emmanuel C. Montoya 2023/2024

(Social media capture of Montoya print sale.)

In early May 2023, the Apachicano artist Emmanuel C. Montoya, Bay Area creative, announced through his social media the availability to purchase his vintage prints. For Robert, it was the prime opportunity to add an artwork by Montoya who for many years has dedicated himself as an artist to the Chicana/Chicano community. Within a few moments and with technology’s help, we were in direct contact with Emmanuel and became patrons to the piece titled “Las Manos de Aztlán” - a linocut print measuring 16 inches by 17 inches and was specifically made for the Chicana/Chicano students and faculty on the campus of University of California at Santa Cruz in 1989.

A few weeks later and upon the arrival of the print, we unrolled to survey the “Las Manos de Aztlán” piece and were very intrigued to learn more about it. We messaged Montoya regarding the safe arrival of his artwork and inquired if he was available to answer a few questions about the piece itself. We explained to the artist that we wanted to ascertain more information about the “Las Manos de Aztlán” in order to write a future article.

Montoya replied that he was open to talking more over the phone and we coordinated a future & mutual date to go in-depth about his “Las Manos de Aztlán” print. We called el maestro Emmanuel C. Montoya and we were greeted with warmth y gusto from the artist who welcomed us with a “Que viva la Raza!” After exchanging introductions and stating it was our pleasure to speak with a great community member, artist, elder, and activist, Anita took the lead with this on this one-on-one interview with Emmanuel C. Montoya.

(View of “Las Manos de Aztlán” by Emmanuel C. Montoya, 1989)

When asked about the history and background surrounding the “Las Manos de Aztlán” print, Montoya shared that in 1989 he “was approached by Francisco X. Alacrón, the famous Chicano poet. He was teaching at UC Santa Cruz, at that time, and of course was involved with the Chicano students, at that time. I met him of course in the Mission in San Francisco back then in the ‘80s & ‘70s - very vibrant art community in the Mission at that time. So, he approached me. He’d seen my work and liked my work. He approached me about doing this poster celebrating the Chicano students at UC Santa Cruz. It was the ten year anniversary.”

Emmanuel explained that he featured the maguey at the center of the piece due to la planta’s resilience and adversity against many elements as well as its important symbolization in ancient and contemporary cultures. Montoya happily retold a funny moment of enlightenment when looking at “Las Manos de Aztlán” that “if you looked at the image,” said the artist, “it’s two hands - five and five - which adds up to ten. Of course, I didn’t know that. Somebody else pointed that out to me.” He laughed and continued: “Este so…the idea, of course, is my idea. I thought about the maguey plant which is an important symbol in pre-Columbian/Mexicano/Chicano history and culture. I have the two hands growing from the maguey plant and it, of course, symbolizes their ten years” as a Chicana/Chicano organization on the UC Santa Cruz campus in 1989.

(Detailed view #1 of “Las Manos de Aztlán”)

When asked why the medium of linocut was used, Emmanuel stated that it was his preferred style since he studied specifically printmaking in the woodblock linoleum cut format both at the undergraduate and graduate levels at San Francisco State University (B.A. 1985 and M.F.A. 1991). He explained: “I sort of studied in school but I was also inspired to study to develop my own style, my own interest, in linocut and printmaking. From the tradition and history of printmaking in Mexico. I was very inspired by the work of a number of different Mexicano printmakers in the mid 19th century, the Mexican Revolution. Out of that came so much culture and art and one of those organizations was Taller Gráfica Popular…artist workshop. It was founded in 1935 by Mexicano, Leopoldo Méndez, he along with a number of Mexicano artists and printmakers established this organization TGP [el Taller de Gráfica Popular]. How I can I say this? For me, it was inspiration, it was you know, it was my roots as Chicano artist, as a Chicano printmaker specifically, and I just, you know, did a lot of, how can I say this…research, read, and went down to Mexico…Mexico City…and meet some of those printmakers…Yes, I was…you know, it was my mecca.” He laughed as he recollected his inspiration which has not waivered at all, and has only gotten stronger since his youth.

We inquired more about that trip to El Taller and Montoya was glad to share that “it was such an inspiration…such an opportunity to meet some of those artists in person and trade artwork. And este, in 1985, el Taller was celebrating its 50 year anniversary and so they had a show at Bellas Artes in Mexico City. One of the artists that I specifically meet close to, and became good friends with Alberto Beltran. I met him through another Mexicano artist that was up here [California] in the ‘80s, working with muralists up here, Mexicanos/Chicanos muralists up here. I was introduced to him; Alberto and I became good friends. We communicated, correspondence, and I would send him materials - books, information about the arts as they were happening up here in the Chicano communities. And so, 1984 I got a chance to go down and actually meet him for the first time. And I spent a good time…20 years corresponding back and forth. All those letters and information that he would send me; I saved, I collected, and it is now housed in the Bancroft Library at UC Berkeley [...] He turned me onto all these other artistas: Arturo García Bustos, Alfredo Zalce - was one of the founders of El Taller and he was in Morelia. I had a chance to go out to Morelia and meet Alfredo Zalce. It was so inspiring and it was so historical for me to meet these artists that I had read about and saw their work. It was a delight.”

(Detailed view #2 of “Las Manos de Aztlán”)

Anita further inquired how that inspiration from visiting the artistic mecca of Mexico, El Taller, helped him with his techniques when making the print “Las Manos de Aztlán” for UC Santa Cruz; Montoya responded: “Yes…in 1989, I have been doing printmaking. I studied and did my graduate work in printmaking and my thesis was also in printmaking and actually, I wrote about the connection with Chicano printmakers and with the history and tradition of Mexican printmakers [...] The tradition of Mexican printmakers at that time, at El Taller, it was important to them to create things that reflect their times, you know. And it was work based in realism, you know, something to work with…to…the work that they did that reflected the revolution or reflected their history as Mexicanos, their history as pre-Columbian, Native peoples. It was all so inspiring and of course, for me being here in the Bay Area. I was born in Texas and came to California, came to the Bay Area in 1964. And have been here in the bay Area ever since. Went to school here; got involved in Chicano Art and Chicano Culture, and the Chicano community. A lot of that was inspired by what was happening in other communities across the country, in the midwest, in Texas, in Arizona, in Southern California area. It was all this, how can I say it, birth of activism…very much.”

Activism and resilience are some of the recurring themes within the vast works by Emmanuel C. Montoya - both big and small pieces. Montoya was glad to hear that CHICANO ART MOVEMENT had visited his works in the Bay Area via trips to:

CHICANO ART visits: San Francisco Public Library, Mission Branch 2013

CHICANO ART MOVEMENT visits: SFO Museum at San Francisco International Airport (SFO), California 2014.

(Detailed view of artist’s signature on “Las Manos de Azltán”)

To close the interview with the great artist Montoya, it was asked if he could share more about the term Apachicano as well as any projects that he was currently working on at his studio, Apachicano Art Productions. Emmanuel stated: “I am Apache and I am Chicano. I guess one day I decided to just put the two together. (Chuckles) My history as an Apache with that culture…many years…a chingado…in the past, I would say that for 40 years or so that I have become aware that I am Apache, I am Native American and what that means and how that’s reflect in the work that I do as an artist, as a print maker [...] I am retired [and] I work out of a studio; I have been for the past 35 years now here in Berkeley. I have produced quite a bit of work.”

During our final exchange, Emmanuel kindly extended an personal invitation to visit him and his taller in Berkeley and we in return, thanked Emmanuel for the honor to interview him and for the opportunity to learn more about him, his trajectory, his community work, and some of the unknown Chicana/Chicano art history.

#emmanuel c montoya #chicano art #bay area #san francisco #uc santa cruz #chicano anniversary #chicano artist #berkeley #texas #linocut #art print #apachicano #california art

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chicanoartmovement · 27 days

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CHICANO ART MOVEMENT visits: "MARCHING THROUGH HISTORY" with Cesar Chavez and the Farmworkers. A Photo Documentary by Cathy Murphy-2013

(Top: Sign in front of J. Paul Leonard Library Gallery at San Francisco State University announcing “Marching Though History” exhibition 2013) (Bottom: Detail shot of Cathy Murphy’s photo, “Cesar Chavez with his dogs, Boycott and Huelga”) About Cathy Murphy: When Brooks Institute of Photography opened its doors to female students in the mid-70s, Cathy moved to Santa Barbara to continue her photographic studies. While working as a photographic stringer for the Santa Barbara News and Review, she met one of America’s great Civil Rights leaders, Cesar E. Chavez. After seeing some of Cathy’s photographs, Chavez offered her the position of Staff Photographer for United Farm Workers. Like all UFW volunteers, Cathy was provided housing, a food allowance and $5 per week in wages. Cathy accepted the position and continued to photograph the entire “Thousand Mile March.” For more than two years, first with the UFW then with a grant from the Woody Guthrie Foundation, Cathy worked in the fields documenting the plight of the farm workers and their children who often worked from dawn until dusk in what Chavez called “the killing fields.” Cathy’s photographs were used by the UFW to rally support for ending child labor and inhumane working conditions. Through her friendship with Cesar and his family, Cathy also captured the personal side of his life as seen in her collection “Marching Through History with Cesar Chavez and the Farm Workers.”

(Cathy Murphy - “Cesar Chavez talking to UFW Supporters King City, California” 1975) CAM: On my last day in the Bay Area we visited “Marching Through History” with Cesar Chavez and the Farmworkers exhibition. The “Marching Through History” exhibit was a Photo Documentary by Cathy Murphy. Which was held on the campus of San Francisco State University at the J. Paul Leonard Library Gallery and was sponsored by the Labor Archives and Research Center. We attended the “Marching Through History” exhibition on the first day of instruction for many at SFSU, which was not as hectic as I thought it would have been. Anita also had to tie some ends on campus before she began class the next day.

Top: (“Marching Through History” with Cesar Chavez and the Farmworkers) Bottom: (Detail image of: Cathy Murphy’s - “Dolores Huerta and her children attending a wedding at Agbayani Village” 1975) After standing in a couple lines, we proceeded to make our way through the first day school crowds and arrive at the J. Paul Leonard Library Gallery, to attend Cathy Murphy’s exhibition of rarely seen photographs of Cesar Chavez. I was not familiar with Cathy Murphy’s photos of the UFW prior to attending this exhibition. I had only learned in my research the exhibit focused on photographic images of Cesar Chavez and the United Farm Workers (UFW). Once at the exhibit I was able to learn more about the story and contributions of Cathy Murphy who first photographed Cesar Chavez in 1975. I became engaged with Cathy’s thought provoking images of Cesar Chavez and the UFW. The photographs along with Cathy’s first-hand accounts enlightened me with in-depth knowledge of UFW history and the struggles for laborers rights during her stint as Cesar’s photographer.

(Cathy Murphy - “Small boy about to lift a pesticide can filled with about 20 pounds of onions” 1976) The “Marching Through History” with Cesar Chavez and the Farmworkers exhibit consisted of mostly black & white photographs, with a few colored images, and period UFW labor ephemera. There were many thought provoking images, two such photos that brought me delight were entitled, “Cesar relaxing during a retreat Sweet’s Mill, California” circa 1976, in which I perceived Cesar still assessing the day during a much deserved break, and “Cesar Chavez with his dogs, Boycott and Huelga” 1975, where it looks as Cesar is enjoying Tonatiuh’s rays with his German shepherd companions. To the somber photos of children working in filled fields like, “Small boy about to lift a pesticide can filled with about 20 pounds of onions" 1976, and the final image in the exhibit was a moving photograph from 1993 entitled, “Richard Chavez saying goodbye to Cesar, his brother and best friend,” which was a photograph of Cesar Chavez being laid to rest as his brother Richard paid his respects to an American farm worker, labor leader and civil rights activist. Very inspiring exhibition Cathy Murphy, San Francisco State University, and the J. Paul Leonard Library Gallery. Bravo. More info visit: www.library.sfsu.edu & www.cathymurphyphotography.com More images and content visit: CHICANO ART MOVEMENT/Facebook page

#cesar chavez #cesar chavez day #cathy murphy #photography #san francisco #sfsu #2013 #mexican american

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chicanoartmovement · 1 month

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CHICANO ART MOVEMENT visits: Raul Baltazar 2024

(Announcement sandwich board of “Welcome to the Bunny House” -Raul Baltazar)

CAM:

The street team crew headed over to Chapman University’s Guggenheim Gallery to catch the last days of Raul Baltazar's “Welcome to the Bunny House.” This collection of paintings by Los Angeles-based artists were created between 2020 and 2024.

(Foreground: “La Bota (The Boot)” - mixed media, 2024; right wall: “Glass House” - acrylic on canvas, 2023; left wall: “Huitzilopochtli (Sun God at war with stars and moon to protect his mother Coatlicue) - acrylic on canvas, 2020)

The exhibition title is in relation to Baltazar’s former abode located in Echo Park which was “a sanctuary where art, spirit and levity converged, inviting participants to contemplate the transformative potential inherent in embracing indigenous roots and finding solace through creative expression” that influenced “Baltazar’s distinctive painting style and affirming his paintings as extension of his social practice.”

(“El Nagual (Tonal Animal Within)” - acrylic on canvas, 2021)

After crossing the entrance, Baltazar’s art captured Anita’s attention and enveloped her in the abstract expressionism style. Each work was created with details and filled with movement.

(“F/E (Forever)” - acrylic on canvas, 2024)

And Baltazar placed various elements of the leporidae animal family in specific locations within the Guggenheim Gallery walls.

(“Portrait of a Young Artist with T7” - mixed medium sculpture, 2024)

This is the portrait that I contemplated on the most. As a mixed piece, it broke the dimensional plane via its large, fuzzy nose and exaggerated whiskers which were outlandish and intriguing. The exhibition dates for this show were from January 31, 2024 to March 15, 2024 at the Guggenheim Gallery on the Chapman University campus in Orange, California.

#raul baltazar #Xicano art #gallery visit #orange county #ceramic boot #Bota blanca #movement #bota

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chicanoartmovement · 3 months

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Visit us on Instagram

#chicano art #xicana art #modern art #contemporary art #chicano #american art #california art #street art #mexican american #social media #fine art #museum studies

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chicanoartmovement · 4 months

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CHICANO ART MOVEMENT visits: “Traditions” 2024

(“Traditions: Honoring Heritage, Ritual and Family” exhibition title wall at Muzeo 2024.)

CAM:

First exhibit of the new year brings us Muzeo Museum and Cultural Center of Anaheim to view “Traditions: Honoring Heritage, Ritual and Family.”

(“Sharky’s Billiard” by artist Jimmy Bonks, 2023. Acrylic on canvas.)

Via its mission: “What exactly is a tradition? It can be a shared experience established by a family and community to be sustained over time or part of a larger cultural expression, the origins of which may be lost to the past and distant spaces. Either way, our vast Southern California landscape claims many of these traditions as its own. Traditions pays homage to the many familial and cultural facets of our diverse region.”

(“I Hurt The Whole Way Through” by artist Jacqueline Valenzuela, 2023. Oil, aerosol and china marker on canvas.)

“This special collaborative exhibition, curated by Thinkspace Projects and Taloc Studios, celebrates the many ways we honor heritage, ritual, and family through the artistic expression of working SoCal artists.”

(“I Can Make You Dance” by The Perez Bros, 2023. Acrylic on paper.)

Within the “Traditions” exhibit, Anita was captivated by The Perez Bros and their newest painting titled “I Can Make You Dance.” The impressionist-style illustration with realistic qualities made it easy to picture myself within the crowd, dancing to the great tunes with lots friends & community members.

(“Big Wonder - Luna” by Giorgiko, 2022. Acrylic and aerosol on fiberglass and steel coated in gloss enamel.)

This exhibit runs from December 2, 2023 through February 25, 2024 and is located in the Muzeo Main Gallery.

(Travel poster included in the “Muzeo Express” diorama exhibition.)

Our last stop at the museum was the Carnegie Station to view “Muzeo Express a downtown Anaheim tradition that brings a whimsical holiday model train diorama to life in celebration of the season.” Anita loved all the details including one pre-historic reptile and pachyderm. The dioramas are on view from December 2, 2023 to January 28, 2024.

#muzeo #traditions #cultural expressions #contemporary art #chunky paint #orange county #california art #street art #diorama #chicano artist #anaheim #culture

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chicanoartmovement · 4 months

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It's my 12 year anniversary on Tumblr 🥳

#12 year tumblrversary #tumblr milestone

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chicanoartmovement · 4 months

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2023 end of year review coming soon.

stay tuned.

CHICANO ART MOVEMENT: End of Year Review 2022

For CHICANO ART MOVEMENT, the year of 2022 contained different cultural and artistic expeditions across Southern California. We traveled to various locations to partake in events that were safe and fun to do within the parameters of the on-going pandemic.

(Detail of show poster for Robert Williams exhibition at the OCCCA.)

When it came across the CAM desk that artist & cultural icon Robert Williams was exhibiting in Southern California, our team agreed to attend due to the artist, his subject matter, and our previous positive experiences at Williams’ other exhibition shows in the Los Angeles area of past years. On a weekend in late January 2022 to see the exhibition “The Visual Adventures of Robert Williams: Arts, Prints, Skateboards, etc.” at the Orange County Center for Contemporary Art (OCCCA) in downtown Santa Ana. Robert Williams is an acclaimed lowbrow artist who has impacted lowbrow art, pop surrealism, hot rod car culture, and pop art with his juxtaposition of tangible items and original characters.

Through the main doors of OCCCA and in the front portion of the space, Williams’ pop surrealism artworks welcomed patrons to look closer at the subject matter and details. For example in his giclée print titled “Kachina,” Williams depicts in mid-air a devoted Hopi tribe member creating & filling kachina dolls with knowledge from the ancestors.

Following the flow, we then entered the largest space: the center room. Here arranged were the many pieces by the artist that displayed his relationship with the hot rod culture and lowbrow art. Within this community, Robert Williams is also known as Mr. Bitchin’ and is applauded for his work in the hot rod scene & for working alongside the greats such as: Ed “Big Daddy” Roth & Kenny “Von Dutch” Howard. This section contained a prime example entitled “Deuces Wild” in which Williams re-created & stylized the 1932 Ford Company original vehicle advertisements into vignette renditions of different hot rod culture activities, such as: jalopy racing, dry lakes (racing), early stock car racing, sports car racing, drags (racing), street rodding, shadetree mechanics, and auto shows. In conjunction as a centerpiece within the works of Robert Williams was the 1932 Ford Roadster nicknamed “Prickly Heat” that he customized and painted in a deep purple & lime green scheme with many creative details. Anita noticed the race number 397 in gold leaf embossing repeated three times on the vehicle, the hotrod’s nickname above the “Pickly Heat” logo, and the flashy lime green wheel rims.

(Piece by Casey Weldon entitled “The Undermarker.”)

After taking a last look at the car, we proceed to the back space for a small group show filled with pop surrealist artists influenced by Robert Williams trajectory. He “puts in the ‘pop’ in pop surrealism, incorporating the aesthetics of hot rod and surf culture, graffiti, tattoos, cartoons, and comic books to produce artwork more in touch with the sensibilities of the masses. This assemblage highlights the influence his work has had on multiple generations of artists.” Looking through the captivating pieces in a clockwise fashion, Anita was intrigued by the artist Casey Weldon and her piece titled “The Undermaker” which vividly displayed a fierce woman with a unique pet creature that shoots fire from their eyes. Weldon’s use of purple and pink color variants as well as the creation of magical creatures is relatable to Williams and his style. Some of the other artists included in the presentation were: Jaime “GERMS” Zacarias, Isabel Samaras, and Greg “CRAOLA” Simkins.

(View of Chola Orange performance at 1st Annual Cito de Mayo Street Festival.)

In early May 2022, CAM ventured to Santa Ana’s Downtown District for their evening programming of music and art. We walked to the corner of 4th Street and Birch Street to attend the first edition of Cerveza Cito presents Cito de Mayo Street Festival. We took in all the vendors and community displays along the festival area before heading over to the stage for the entertainment. Via social media research, we learned that Chola Orange band was part of the line up. This was a superb opportunity to see a live, outdoor performance from this funk jazz ensemble who we had not seen in quite some time. After a brief sound and instrumental warm up, Chola Orange went into their set with full force. Within their song list, we heard new hits such as “Hot Cheeto Stains” & “Ugly like Pugsly” from their Tokyo Sunset album recently released. Another new element to us was the band’s addition of a fifth member as a second guitarist. The group and its combination of music, atmosphere, and funky vibes rang throughout Birch Street and had the people enjoying their sound. Post-performance we walked over to their merch booth to greet and chat with the bandmates plus stocked up on band t-shirts & a copy of their 2018 vinyl release of “Soul Blazer.”

(View of artist at his opening reception for “Estevan Oriol Photography at OCCCA.)

After the musical set, we walked a few blocks east to our second destination: the Orange County Center for Contemporary Art (OCCCA). This month’s art installation was entitled “Estevan Oriol Photography - An Exhibition by Estevan Oriol” that encompassed his portfolio as a talented photographer documenting his Los Angeles community through a unique photographic perspective and black & white photo productions. OCCCA states that Oriol “is known for capturing images of the dangerous gangsters, Lowriders, musicians, celebrities, L.A. lifestyle and the alluring beauty of women. All of these are shot in his uniquely provocative and raw style. He is the author of several books including LA Women, L.A. Protraits, and This is Los Angeles.” On the front wall sapce of OCCCA, Estevan Oriol displayed his large photoset that included: celebrity portraits of Danny Trejo and Ice Cube; witty subjects expressing their inner emotions, such as “Monkey taxidermy unmarked” and “Bones;” and a few editions of Oriol’s noted “LA Fingers’’ photograph.

As the space opened up, we saw a classic Chevy dropped low to the ground with a multifaceted paint job in earth tones with flakes detailings covered with a glossy finish. The vehicle’s placement projected an outdoor escapism which led the patron to visually look through the open & very large doorway (on the left side) that broke down the artiscal fourth wall and challenged the audience to set into the exhibition’s outdoor extension into a collection of opulent classic lowrider cars in different polished paint jobs. In conjunction with Oriol’s photographic works, the opening reception festivities included this car show on the OCCCA parking grounds in which patrons walked around to take in all the fine details. Even the artist himself, Estevan Oriol, took photographs to document all his moments at OCCCA: from the car collection to exhibit attendees & their expressions.

(Artist GERMS at Muzeo’s Carnegie Galleries.)

In June 2022, our street team member la reportera Anita provided on-site coverage in downtown Anaheim of artist Jaime “GERMS” Zacarias at his art residency with Muzeo Museum and Cultural Center. Through online platforms, we learned about this type of initiative, how GERMS was the inaugural artist-in-resident at Muzeo, and the schedule of drop-in viewing hours throughout the month of June. Through its Makers @ Muzeo literature, the museum states that this contemporary painter “is a Chicano artist and South L.A. native who has captured the essence of Los Angeles and Chicano history through a myriad of futuristic and three-dimensional characters.” Following the directional signage at Muzeo, Anita walked into the Carnegie Galleries’ lower level to see GERMS, the artist at work. After a brief introduction, he invited one to look around and ask questions. During her observations of the in-progress collection, GERMS explained his artistic process of maximizing his own potential and production via time blocking strategies that allowed him to focus on painting canvases until his momentum slowed down to then switch his attention & efforts to another canvas set to be filled with his own unique characters.

Laid throughout the Carnegie Galleries’ wide and large space were the in-progress pieces that GERMS was rotating between. One canvas set on the back wall displayed paintings in mid-stage which allowed one to see the details within the layering of colors and symbolism. From left to right, Zacarias’ images of his squid-like creatures in vibrant pigments with stylized, tinted tentacles were in distinct phases of production that gave insight to the artistic progression of his subject matter. In contrast, on the front wall was a set in the beginning stages of creation. It was clearly visible that GERMS’ application of background colors, overlapping stenciling, and drip paint techniques had dried completely and was ready for his iconic squid-creatures to be painted on the center as the main figure on each canvas. Afterwards, Anita stepped back to see the artist at work who with an acrylic paint palette in hand stated that he will repeat his process of painting in sets until completing 12 pieces in total by the end of the month for the conclusion of his time with Makers @ Muzeo artist in residence programming.

(Live performance by Very Be Careful at the Garden Amphitheater.)

Taking advantage of open-air programming and in mid June 2022, we danced the time away at two concerts. On Friday the 17th, we traveled to the Garden Amp (a small outdoor amphitheater located in Garden Grove, California) for a night filled with pachanga music thanks to the concert produced by Acropolis Music Group with performances by Azul Quetzal, Raskahuele, and headliner Very Be Careful, one of our favorite vallenato cumbia groups hailing from nearby Los Angeles. We checked in with our digital tickets at the entrance, got drinks at the bar, and toured the pop-up shops on location. At the Very Be Careful merchandise table, Anita purchased one of the 20th Anniversary t-shirt series that highlighted each band member in a sports action pose. She got the shirt featuring Peabody (Craig Martin) in full football attire with his percussion instrument el guiro in hand.

Next we took our seats in the amphitheater to enjoy the last of the musical performance by the ska reggae group Raskahuele. Afterwards, the cumbia sonidera sounds by the DJ collective of Ritmo Santanero got some couples on the dancefloor during this interlude. At a quarter after nine, the headliner Very Be Careful took the stage with the crowd cheering in anticipation. VBC’s own cowbell percussionist & hype man, Dante, welcomed fans to this Friday night performance and had the crowd participating in a humors call-back routine between him and the concert goers. Their performance was filled with energia alegre, rhythmic songs that got loyal and new fans to the dancefloor. From start to finish, Very Be Careful created a backyard party atmosphere that had couples & parents with their little ones in arms dancing untill the very last song.

(Posters at the Juneteenth Festival in Santa Ana, California.)

The next day on a sunny Saturday afternoon, we readied ourselves for Santa Ana’s Juneteenth Festival at Centennial Regional Park hosted by the Orange County Heritage Council and the City of Santa Ana. This outdoor festival welcomed all to “learn about African-American Culture and the significance of Junetheen, enjoy musical performances, food and more.” The listed performers for the celebration were artists such as: Slum Village, Knoc-Turn’al, and headlining, The Delfonics.

On the festival’s social media content, it stated: “Juneteenth is the oldest known annual observance commemorating the abolishment of slavery in the United States of America. The Juneteenth Independence celebration dates back to June 19, 1865. It was there in Galveston, Texas that Union soldiers delivered news that the Civil War had ended and enslaved African Americans within any state were free.”

Upon our arrival to Centennial Regional Park, event staff greeted community guests to this first edition of the annual Juneteenth Festival celebration. A large welcome arch of balloons and banners created a guided pathway filled with informational posters highlighting the African-American community, history, and contributions to the city of Santa Ana. First we learned that Miss Helen Shipp, founder of The OC Black History Parade, was immortalized in a community mural; and secondly, we were informed how the city’s little league baseball organization was named after MLB player Gary Templeton, who was a three time All Star Player & National Baseball League Hall of Famer.

(Music artist Knoc-Turn’al at the Juneteenth Festival.)

Past the welcome arch, we walked towards the entertainment area for the acts. The first artist to take the stage was L.A.’s own Knoc-Turn’al with his hits “Bang Bang” and “LA Confidential;” rapper Knoc-Turn’al has a career spanning twenty years and has worked alongside multi-platinum creators: Snoop Dogg and Dr Dre.

(Musical act Slum Village rapping at the Juneteenth Festival.)

The performance by Slum Village had an enthusiastic introduction by Santa Ana Councilman Johnathan Hernandez which led one to infer that Hernandez indeed was a big fan of this early 2000s hip-hop rap duo from Detroit, Michigan. Slum Village members T3 and Young RJ rocked the mic with their underground hits and have collaborated with the likes of Kayne West, J. Dilla, and MC Breed.

(Juneteenth Festival headlining performance by The Delfonics.)

In between musical sets, we ventured to support the vendors and local communities initiatives while eating a tasty ice cream treat in anticipation for the Grammy Award-winning artists: The Delfonics. The mainstage was now filled with attendees and we decided to choose a key location for easy front-row access for documentation and enjoyment purposes. Once the famous Delfonic Theme song began, the crowd got excited. In matching blue sequin jackets & black captain hats, each member was individually introduced and welcomed by the cheers of new & old fans. We were mesmerized by their amazing musical talents and perfectly choreographed dance routines to their hits of “Didn’t I,” “Hey! Love,” and “Somebody Loves You,” all notable songs of their music catalogue. Unfortunately, their show was impacted by the earlier artists and resulted in The Delfonics not being able to perform their complete song list. To close the still very enjoyable show, The Delfonics performed their soulful 1968 US Billboard love song hit “La-La (Means I Love You)” which ended with members singing the last lines a la a cappella that left the crowd cheering for an encore.

Less than a month after their performance in Santa Ana, we learned that we lost the lead singer & founding member of The Delfonics, mister William “Poogie” Hart passed away on July 17th at the age of 77. Rest In Power William Hart and thank you for all your music and memories.

Throughout the 2022 year, CHICANO ART MOVEMENT was a patron of the arts by buying fine art prints. Anita added two to her collection. First was the collaboration piece between Shephard Fairey & photographer Melanie Nissen titled “Alice Bag,” a portrait of L.A. based, punk rock artist Alicia Armendariz who was also the co-founder of 1970s punk band “Alice & The Bags” and a great Chicana musical trailblazer. The second artwork purchased by Anita was a Star Wars: The Mandalorian glow-in-the-dark, timed edition print titled “I will teach you to protect yourself” by Mark Englert and Bottleneck Art Gallery; this artwork is a companion piece to the 2021 print released by the same artist.

Our adventurous expeditions in 2022 ranged from various contemporary art exhibits and numerous musical concerts of diverse genres in which we learned more about the fine arts and its processes plus had great opportunities to reconnect with our musicians and artists compañeros y compañeras. For the upcoming year, CHICANO ART MOVEMENT looks forward to being part of the community that supports the arts in all its shapes, forms, and distinctive manifestations.

#review #art review #chicano art #chicana art #chicano #chicano writers #xicana writer #mexican american writer

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chicanoartmovement · 5 months

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Negativity Attracts, Barbara Carrasco, 1990

Screenprint 26 ¼ in. x 40 in. (66.7 x 101.6 cm) Smithsonian American Art Museum, Washington, DC, USA

#barbara carrasco #chicana art #chicana #chicano art #chicano

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chicanoartmovement · 6 months

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CHICANO ART MOVEMENTS visits: “Greetings from Home” 2023

Surveyed “Greetings from Home” at Moulton Hall on the Chapman University campus. This multi-artist showcase by the Escalette Collection displays different home representations impacted by environmental, governmental, and spiritual elements creating vibrant conscious and subconscious memories.

(Detailed view of the works by artist Ana Serrano and Laurie Steelink, respectively.)

The mission statement declared that “‘Greetings from Home’ exhibits artists who utilize ceramics and paper sculptures to portray their hometowns, recreating their upbringings through whimsical imagery and captivating color schemes.”

(First unit of Ana Serrano’s “Building Series,” 2012.)

It was stated by the Escalette Collection that “using cardboard and colorful acrylics, Mexican-American artist Ana Serrano is an architect. Recreating Los Angeles’ low income, Latino neighborhoods, Serrano spotlights ‘the spirit of an unplanned city,’ which captivated as a youth.”

(Second unit of Ana Serrano’s “Building Series,” 2012.)

I learned that Ana Serrano’s “Building Series”works were included. Within Serrano’s series (2012), my favorite was the middle casita with its wrap around garden & cool tones frond door which was a homey touch of this unique little block.

(Third unit named “Saritas #1” by Ana Serranoand part of her “Building Series,” 2012.)

This display was curated by the summer 2023 student interns of the Escalette Permanent Collection at Chapman University.

(Full view of all artists featured in the “Greetings from Home” display case located in Moulton Hall at Chapman University.)

Other participating artists were: Laurie Steelink, Jack Earl, and Cliff Hilliard.

#paper sculpture #ceramics #mixed media #orange #university collection #Chapman university #Home life

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chicanoartmovement · 6 months

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Artist: Carlos Miramontes

Art by @zalixco

#chicano art #illustration #portrait #figurative art #ball point pen #zalixco #carlos miramontes

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chicanoartmovement · 8 months

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CHICANO ART MOVEMENT visits: José Lozano “Lotería Card” 2023

(Detail of ��Lotería Card No. 1” )

We came to the Bristol Swap Mall & Food Court for a specific errand and outside, at its entrance viewed the large scale art project by Jose Lozano (artist) and Roger Reyes (muralist) in collaboration with local Raza owned bookstore, Libro Mobile.

(Detail of “Lotería Card No. 2” )

These pieces entitled “Lotería Card No. 1” & “Lotería Card No. 2” are centered around images of commerce and supporting small businesses. These particular game cards depicted all that’s available at the swap mall & food court — from clothing and presents to delicious food options like pho, dumplings, tacos & pasteles

(Detail of “Lotería Card - El Dress” also known as a vestido.)

Murals are at the Bristol Swap Mall & Food Court, located at 1180 S. Bristol Street in the city of Santa Ana, California 92704.

#jose lozano #chicano art #public art #chicano #santa ana #mural #loteria #orange county #food court #shopping #mural piece

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chicanoartmovement · 10 months

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CAM:

In 2013, Robert wrote a blog post on the artwork of Emmanuel C. Montoya. In 2013 during a recent interview with the same artist for a future write up, Montoya noted on his pieces in San Francisco that we originally saw a decade ago. Now, I have the chance to tack on additional information given by Montoya himself and provide my thoughts on this particular art set.

(View of Emmanuel C. Montoya art print information plaque.)

In the latter portion of the interview conducted in late May of this year, Montoya gave keen facts about his colorful linocut prints titled “Deities of Knowledge, Culture, and Literature” installed at the San Francisco Library, Mission Branch in 1999 by the artist himself. Montoya stated: “The work that I produced for the Mission Branch Library, was an important commission for me because I was able to really, really work on the ideas that I had for quite some time. And also, the fact that those three pieces that are there in the library reflect three very important cultures, peoples in the Bay Area - the African American culture & African culture; the Mexicano, pre-Columbian culture; and the Chinese & Asian American culture - because that’s who I live with here, those are the culture and peoples that exist in this area and it was important for me to reflect that in my work.” Montoya also gave a surprise fact about his “Quetzalcoatl” image: it was produced as a limited run of offset posters in full color.

(Detailed view of “Quetzalcoatl: Pre-Colombian Deity of Knowledge and Culture.”)

After the interview with el maestro Emmanuel C. Montoya, I took a moment to think on the concepts he spoke upon in relation to his installation at the San Francisco Library, Mission Branch location. His statement of “there in the library reflect three very important cultures, peoples in the Bay Area” resonated with me since through Montoya’s three mixed media, color linocut prints he portrayed Mesoamerican, African, and Asian ancestors from ancient civilizations to invoke knowledge, wisdom, and nobility amongst those patrons who visited the Mission Branch. Montoya’s inclusion of community representation and historical perspective in his artwork provided a view into those “keepers of words” and how much strength they had inside themselves and within their ancient civilizations.

For me it was Montoya’s depiction of “Quetzalcoatl” that was the most intriguing portion of the art set since it was a human manifestation of the “Pre-Columbian Deity of Knowledge and Culture” and not the feathered serpent interpretation inspired by the codexes. I connected with his human deity of “Quetzalcoatl” and saw his inclusion within the San Francisco Library, Mission Branch as an empowering elder figure that can spark inquiry of knowledge with his words and codex books that Quetzalcoatl carried with him, as displayed Montoya’s artworks.

Also, I was engaged by Montoya’s small details of paper - such as: art prints, codex, scrolls, papyrus - which communicated that knowledge and literacy is transmitted by creating printed materials. These details in each panel created a sense of connection between the pieces even though they were displayed separately during our viewing back in August 2013. The inclusion of different paper formats was an ideal match between the subject matter and the art location since it was part of the Mission Branch Library permanent art collection to inspire all those who walked through the doors that their community has a rich & ancient history as well as empowering contemporary history that continues to the present day.

(Detailed view of “Egypt’s Contribution to European Civilization.”)

Thanks to recent initiatives on behalf of the San Francisco Public Library Commision, the Mission Branch is currently under construction for remodeling which includes more space for patrons, materials, and artwork. The approved plans also included the future arrangements for Montoya’s works of art, which stated: (1) the set will be reframed; (2) moved from its original locations (hallway and lobby) to the new & large community room on the ground floor; and (3) will be the prominent feature of the space since it will be displayed as a set. During their construction period, it was disclosed that Montoya’s large and vibrant art pieces are in the possession of the San Francisco Art Commission for safekeeping. The San Francisco Library, Mission Branch remodel is expected to be completed by May 2025.

(Detailed view of “Wen Ch’ang: Chinese Deity of Literature.”)

CHICANO ART MOVEMENT would like to thanks Emmanuel C. Montoya for his time and positive energy during the May 2023 interview. We appreciate and are grateful for all his artwork, community work, and life’s dedication to el arte Chicano y Chicana.

CHICANO ART MOVEMENT visits: San Francisco Public Library, Mission Branch 2013

(Bottom photo: Emmanuel C. Montoya - Egypt’s Contribution to European Civialzation) (Top photo: entrance to library where 3 spectacular artworks by “Apachicano” artist Emmanuel C. Montoya are located) CAM: I was eager to share this post first, the Mission District was supposed to be our second art day filled trip in the SF area which I was going to share with you readers. But just like the weather in San Francisco (which I enjoyed) things changed quickly. The plan was to visit two gallery exhibits and the Library in the Mission District. The first exhibit we attempted to document in the Mission District was Artist Juan R. Fuentes exhibit entitled, “Trasferrencia De Luz” at A.G. Artillery Apparel. Unfortunately we were not allowed to photograph any of Mr. Fuentes’s beautiful Linocut works in the exhibit. After a quick view of “Trasferrencia De Luz” we headed to show number two in the Mission District, which was planned to be Rio Yanez’s “POCHO ADVENTURE CLUB” at the legendary Latino institution, Galeria De La Raza. This was the exhibit I was anticipating on viewing while staying in the SF area. I was also excited to step foot in this famed Latino institution that has exhibited many renowned Chicano and Mexican-American artists. We visited Galeria de La Raza during normal business hours and were greeted by the gallery attendant who was sitting down typing away on her laptop. Not being able to find an entrance in to the “POCHO ADVENTURE CLUB” exhibition, I politely asked her if we could view the Rio Yanez exhibit, which we were quickly denied to survey and explained to it was do to due to short staffing and a cluttered gallery where Mr. Yanez’s exhibition was being shown. I try to keep this blog positive, but not being able to view Mr. Yanez’s exhibit was a disappointment and was left a little sour. I was able to capture some images of Mr. Rio Yanez’s printed black & White cutouts in front of the gallery windows, but those will stay in the personal archive. Swinging and missing twice and feeling as if we were not feeling welcome in the Mission District I was ready to call it a day and get out of Dodge. Anita and I decided to stay a bit longer and have a bite to eat.

(Top)Emmanuel Catarino Montoya II - Deities of Knowledge, Culture and Literature. Three Miixed Media Lino-Cut Prints (Top: Quetzalcoatl: Pre-Colombian Deity of Knowledge and Culture) (Bottom: Emmanuel Catarino Montoya - “Wen'Chang: Chinese Deity of Literature”) After some very tasty Pupusas (carnitas, cheese and beans) and help from Google maps we decided to make the last stop we scheduled to save this outing for our quest of Chicano and Mexican-American art in the Mission District. The San Francisco public Library, Mission Branch. That is where three limited edition masterpieces by “Apachicano” artist Emmanuel C. Montoya are located for public viewing. Emmanuel Catarino Montoya is a Master Printmaker ~ Muralist ~ Art Educator Enrolled member of the Lipan Apache Band of Texas, Inc. Born in the small south coastal town of Corpus Christi, Texas. Emmanuel resided in the San Francisco Bay Area for forty-eight years where he attended high school and went on to college and earned a Bachelor of Arts and Master of Fine Arts degree in printmaking at San Francisco State University. When I first walked into the library I initially walked by Mr. Montoya’s, “Egypt’s Contribution to European Civialzation” artwork due to me not being familiar with the technique he used in this specific artwork. Placed next to it on its left was a piece very much in his recognizable style, and the piece that made me forget my prior art strikeouts in the Mission District. “Quetzalcoatl: Pre-Colombian Deity of Knowledge and Culture”, A museum size, multi-colored Linoleum cut work of art. Which I instantly gravitated to and wanted to absorb every detail in the “Quetzalcoatl: Pre-Colombian Deity of Knowledge and Culture” mixed media lino-cut. This artwork has to be the most amazing interpretation of Quetzalcoatl that I have ever seen. The third artwork of Mr. Montoya’s in the library was another piece in a style that I have never seen him create in, but also enjoyed very much was, “Wen'Chang: Chinese Deity of Literature”. Anita and I loitered around this one the longest admiring the great detail Mr. Montoya put into this magnificent artwork.

(Emmanuel C. Montoya Lino-cut mixed media artworks at the San Francisco Library, Mission Branch in San Francisco, California) Although our art filled day had a detour or two it was an enjoyable spending the day walking around the Mission District with Anita exploring this culturally vibrant Latino neighborhood. I would like to thank helpful and friendly Librarians at the San Francisco Library in the Mission District, who also guided us to more Chicano and Mexican-American art in the area. San Francisco is awesome and I already have plans to return soon. More detailed images @ CHICANO ART MOVEMENT/Facebook page

#san francisco library #emmanuel montoya #artist insights #literacy #books #ancestral knowledge #update #2013 #2023 #berkeley #mission district #sf #printed matter #apachicano #chicano art

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chicanoartmovement · 1 year

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CHICANO ART MOVEMENT: End of the Year Review 2022

Short slideshow of CHICANO ART MOVEMENT: End of the Year Review 2022 in which we highlight our attended events in support of the arts. For CHICANO ART MOVEMENT, the year of 2022 contained different cultural and artistic expeditions across Southern California. We traveled to various locations to partake in events that were safe and fun to do within the parameters of the on-going pandemic.

#chicano art #2022 #music #california #robert williams #very be careful #estevan oriol #chola orange

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chicanoartmovement · 1 year

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CHICANO ART MOVEMENT: End of Year Review 2022

(Detail of show poster for Robert Williams exhibition at the OCCCA.)

(Piece by Casey Weldon entitled “The Undermarker.”)

(View of Chola Orange performance at 1st Annual Cito de Mayo Street Festival.)

(View of artist at his opening reception for “Estevan Oriol Photography at OCCCA.)

(Artist GERMS at Muzeo’s Carnegie Galleries.)

(Live performance by Very Be Careful at the Garden Amphitheater.)

(Posters at the Juneteenth Festival in Santa Ana, California.)

On the festival's social media content, it stated: “Juneteenth is the oldest known annual observance commemorating the abolishment of slavery in the United States of America. The Juneteenth Independence celebration dates back to June 19, 1865. It was there in Galveston, Texas that Union soldiers delivered news that the Civil War had ended and enslaved African Americans within any state were free.”

(Music artist Knoc-Turn’al at the Juneteenth Festival.)

(Musical act Slum Village rapping at the Juneteenth Festival.)

(Juneteenth Festival headlining performance by The Delfonics.)

#low brow art #pop surrealism #california art #music #garden grove #hot rod culture #end of the year #support the arts #festivals #contemporary art #california

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CHICANO ART MOVEMENT attends: “The Yellow Pad Series” 2023

Jose Lozano - “The Yellow Pad Series”

January 19 - March 4, 2023

At Crear Studios

CAM: On the final day of exhibition 03/04/23, we arrived at Crear Studio for an early viewing of Jose Lozano “The Yellow Pad Series.”

(Detailed view of “The Yellow Pad Series” at Crear Studio)

We learned through the gallery showcard that this “is a collection of consciousness narratives on faux yellow pad ground, which includes line art and mixed-mediums with graphite, ballpoint pen, and colored pencil on gessoed paper and wood panels.”

(Jose Lozano - “Tamale Lady Wallpaper Swatch” Acrylic Paint on Canvas)

A favorite paper of mine was taking a closer look at the pieces to read the salacious details incorporated within the artwork itself.

(”The Yellow Pad Series” exhibition by artist Jose Lozano at Crear Studio 2023)

Even before viewing any of the artwork from the exhibition I was intrigued by the title alone “The Yellow Pad Series.”

(Jose Lozano - “Ya Déjala/Leave here” Wood Panel)

I was curious to view Jose Lozano’s approach on paper mainly used for taking notes in the legal system

#jose Lozano #chicano #chicano art #illustrative art #california art #fullerton #santa ana #faux #chicano artist #works on paper #small creations #subjects on paper #downtown santa ana #art walk #saturday gallery date

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chicanoartmovement · 1 year

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Stay tuned for CHICANO ART MOVEMENT: End of Year Review 2022. Coming soon

CHICANO ART MOVEMENT: End of Year Review 2021

Here at CAM, we wanted to share our participatory actions and highlight our interactions with the arts. This end of year review for 2021 contains the different efforts we made to be art patrons during the continuation of the COVID-19 ( and its variants) pandemic.

(Detailed interior view of “Rise of the Resistance” ride at Disneyland’s Star Wars Galaxy Edge.)

While abiding by the mandates, we traveled to five locations across Southern California to partake in person the artworks and cultural stimulation. In July 2021, we started off at the Disneyland theme park in Anaheim to take in Star Wars Galaxy Edge sprinkled with some nosglatic rides, tasty food, and great souvenirs all while the park was at limited capacity.

(“Untitled” print by Albert Reyes.)

In September 2021, CHICANO ART MOVEMENT traveled to the home of illustrator Albert Reyes to pick up an art print added to our collection and correlating with the piece, we had a spooky chat about the upcoming Halloween season. Afterwards, Reyes extended an invitation for us to tour his Haunted House creation for a second year in a row & was filled with fright around every turn.

Read CHICANO ART MOVEMENT visits: Artist Albert Reyes 2021

(Detailed view of Pipilotti Rist survey at MOCA Los Angeles.)

In October 2021, CAM purchased tickets to experience “Pipilotti Rist: Big Heartedness, Be My Neighbor” at The Geffen Contemporary at MOCA Los Angeles. The Swiss born artist created an interactive, multi-sensory exploratory exhibit filled with phenomenal visual techniques. We also visited the Geffen Store to support the sales of the Pipilotti Rist Microfiber Cleaning Cloths (both Face & Colors editions) & the plantable seed cards made exclusively for Rist’s exhibition by Margins Imprint.

(Pilar Castillo artwork for “Stories of the Land” exhibition.)

In November 2021, at Santa Ana College’s Art Gallery we analyzed the “Stories of the Land” exhibition that focused on female artists who connected with the land in one way, shape, or form in their respective mediums. The piece that has stayed with me was the installation by Pilar Castillo entitled “Plantation to Paradise Designing the Caribbean: Handkerchiefs” that depicted the impacts of the tourism industry on the region. View CHICANO ART MOVEMENT attends: “Stories of the Land” exhibit 2021

(Logo and welcome sign by Tropico de Nopal Gallery Space.)

In December 2021, CAM traveled to Echo Park’s Trópico de Nopal Gallery Space for some holiday shopping at the Caracol Marketplace which hosted various artistic vendors & creators. Our attendance was specifically for the hand printed items by Dewey Tafoya, Masterprinter & Assistant Director of the Professional Printmaking Program at Self Help Graphics & Arts, who had four of his unique designs to be silk screened on bring your own textiles thanks to Tafoya’s $5 special.

(Detailed view of “Cakeland.LA” exhibit.)

On a cloudy December 2021 afternoon, we drove to Downtown Los Angeles’ Chinatown to experience the multi-sensory, multi-layered “Cakeland.LA” by Scott Hove. Housed within this experiential art gallery, we ventured into Hove’s creations that contained elements of illusions, sweet but metaphysical manifestations, and sharp scenarios of creative ingenuity.

(Top to bottom: Dewey Tafoya silkscreen image & Mark Englert print by Bottleneck Gallery.)

During the pandemic, we supported the arts by purchasing artists editions, totes, and multimedia pieces. Robert’s favorite collected piece of the year was a silkscreen by Dewey Tafoya which depicts Olmec heads stacked in an Aztec tzompantli pattern style. During this year’s May the Fourth Be With You - a celebration of Star Wars, I received my Mark Englert’s “There Aren’t Many Jedi Left” timed edition print from Bottleneck Gallery. I chose Englert’s image to add to my collection; his version of a heartfelt scene within the Mandalorian life-action series where little Grogu communicates his thoughts, feelings, and connection to Mando via the force to my favorite mujer Jedi - in limbo, Ahsoka Tano. One distinct feature of this Englert’s print was its glow in the dark transformation to depict the duel fight between Ahsoka and the villainous Magistrate Morgan Elsbeth.

At CHICANO ART MOVEMENT we would like to highlight a big accomplishment of ours that happened in 2021. We wrote and finalized our extensive media coverage for the second and third installments of CHICANO ART MOVEMENT reviews Pacific Standard Time: Latin American and Latino Art in Los Angeles. On the tumblr platform, one can read about the 18 programs we attended plus gather descriptions and details found within the PST: LA/LA endeavor. On CAM’s Facebook page, we posted an extensive photo album documenting the different facets of participation in the Pacific Standard Time: LA/LA edition. Read CHICANO ART MOVEMENT reviews Pacific Standard Time Attended Programming parts 1 through 3.

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#chicano art #writers #contemporary art #end of year #xicana art #art #california

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