Chicano Art

National Art Education Association
Instructional Resources: Community and Contemporary Chicano Art: Four El Paso Artists
Author(s): Lori Eklund and Jerry Medrano
Source: Art Education, Vol. 53, No. 4, The Value of Local History and Place within Art
Education (Jul., 2000), pp. 25-32
Published by: National Art Education Association
Stable URL: http://www.jstor.org/stable/3193825 .
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INSTRUCTIONA
COMMUN
AND
CONTE
CHICANOART:~~~
FOUR
EL
PASO
ARTISTS~~
iE
Gloria
Osuna
ElMandado,
1998.Mixed
media
oncanvas
andtwo-wheeled
Perez,
wirecart.
installation,
acrylic
ElPasoMuseumofArtCollection,
RobertU.andMabel0. Lipscomb
1999.16.1-.4
Foundation,
JULY 2000 / ART EDUCATION
AND
COM1MUNITY
0Jp
A0
-
Ski
IA5
I I
Thisinstructionalresourceintroduces
middleand highschoolstudentstofour works
ofart, eachof whichrepresentsan artist's
personalrelationshipto community.
Introduction
social
The termChicano/ahas been definedandredefinedsincethe potentMexican-American
Latino
in
the
For
some
20th
half
of
the
in
the
latter
to
movementbegan gain ground
century.
communitythe termis loadedwithderogatorymeaning,whileforothersit is a sourceof pride.In
essence, the Chicano/afeels connectedto boththe deep indigenoustraditionsthatformpartof
the mestizo (mixedSpanishand Indian)psyche of Mexico andto a uniqueandunprecedented
experienceamongthe manyimmigrantpopulationsin the UnitedStates.
The multiplicityof Chicano/aexperienceshas shapedthe visuallanguageof El Paso artists
LuisJimenez,CarlosCallejo,GasparEnriquez,andthe lateGloriaOsunaPerez.El Pasois a cityof
750,000with a majorityMexican-Americanpopulation,makingit the largest city on the U.S.Mexicanborder.Acrossthe RioGrandelies CiudadJuarezwithits populationof over2,000,000.
The constantinteractionof the twonationalculturessets up a uniquesocial,cultural,andpolitical
environment.By addressingfacets of El Paso's history,social concerns, and its hopes for the
future,these artistshavetappedintoa uniqueculturalforcethatis exemplaryof Chicanismofound
communitiessuch as LosAngeles,SanAntonio,or Chicago.
in otherethnicMexican-American
ART EDUCATION/ JULY 2000
INSTRUCTIONAL
?
S
GLORIAOSUNA PEREZ
LUIS JIMENEZ
El Mandado, 1998
mixed media installation, acrylic on canvas and
two-wheeled wire cart
El Paso Museum of ArtCollection, Robert U. and
Mabel 0. Lipscomb Foundation, 1999.16.1-.4
El Buen Pastor, 1999
Lithograph
El Paso Museum of ArtCollection, Giftof Marcel and
Ellie Bourgon, 2000.1.1
TheinstallationElMandado(thegroceryorthe errand)is composedof
twoacrylicon canvasportraitsanda two-wheelwirecart.Onthe leftis
thepaintingAngelade la Calle"D"(Angelafrom"D"Street);on the right,
Sofie la Comadre(Sofiethegood friend),witha two-wheeledcart
locatedon the floorbetween.
Discussion
El Mandadois GloriaOsunaPerez'stestamentto the deeply
bondsamongLatinawomencentered
ingrainedsocio-familial
aroundeverydaychoresanddomesticactivitiessuch as grocery
shoppingandcooking.The paintingsin the installationportray
hergrandmotherandSofie,hergrandmother's
comadreor close
friend.The smallmetalshoppingcartrepresentstheirdailyritual
of groceryshopping,a timewhentheymet andwalkedto the
storeandsharednews of the neighborhood.The cartalso
representsa modem-day"vessel"thatthe artistlinksto the past,
connectingit to historicindigenouspeoplesin the American
Southwestwho used claycontainersto transportgoods.
OsunaPereztrainedin ceramicsandpainting.The formsof
herpotteryinfluencedstylisticallyher paintings.Herpaintings
arelargein scaleandtakevisualcues fromthe artof Mexican
muralistDiego RiveraandDavidSiqueiros,as wellas fromthe
large-scaleworksof GeorgiaO'Keeffe.Peopleportrayedin her
paintingshavestrongerNativeAmericanfeaturesanddarker
skinthansome Mexican-Americans.
Itis the artist'sintentto have
the viewertakenoticeof the "brownness"
of the skinof Latinos,
sayingthat"[we]haveto be proudof ourcolorandwhowe areas
people"(Williams,1994).
Activity
OsunaPerez'sworkwas inspiredby the ritualsof dailylifeand
the relationshipsbetweenpeopleandtheirrituals.Havestudents
recalltheirownritualsin theirdailylives-going to the grocery
storeon Saturdays,attendingschool,lunchroomvisitswith
friends,familyoutings,etc. Discussandhavestudentsmake
notes aboutthe individualsin theirselected"scenes,"their
personalities,relationships,andmoods.Talkwithstudentsabout
installationsas a formof artisticexpression.Havestudentsbring
materialsfromhomewithwhichtheycancreateaninstallation
thatis representative
of theirscene of dailylife.
Evaluation
Studentsshoulddemonstratein theirinstallationan
of self andothersby exploringritualsin dailylife.In
appreciation
a classcritiqueanswerthe following:Howdidthe studentexpress
a moodorfeelingin the installation?
Howdidthe studentexpress
a relationshipbetweenindividualsin the installation?
Howdid
studentsexpressanappreciation
andunderstandingof the
installationsof others?
ElBuenPastoris a 10-colorlithograph
printedfromeightplates on
Archescoverwhitepaperinan editionof 62.
Discussion
OnMay20,1997,EsequielHernandezof Redford,Texas
(atinybordercommunityabout200milessoutheastof El Paso,
Texas),waskilledwhilehe tendedgoatsnearhis deserthome.
Esequiel,a wellrespectedhigh schoolsophomore,was killedby
a Marinewhowas involvedin military,anti-drugoperationsalong
the U. S.-Mexicanborder.
His deathtouchedoffheatedcontroversyconcerningthe
circumstancesofthe shootingandUnitedStatesdrug
enforcementpolicies.A grandjuryinvestigationensued,
culminatingin no indictmentagainstthe Marinewhokilled
Esequiel.Turmoilcontinuedafterthe grandjury'sfindings.
AlthoughEsequielhada .22rifleandhadfiredshots,Texas
Rangersandlocalprosecutorshavedisputedthe military's
accountof his death.Hisfamilymaintainsthathe alwayscarrieda
riflegivento himby his grandfather
forkeeping
WWI-vintage
wildanimalsawayfromthe herd,andthe autopsyreportsuggests
thathe wasnotfacingthe Marineswhenhe was shot.The
MarinessaidthatEsequielfiredtwiceatthe Marinesurveillance
teamandhadraisedhis rifleto fireagainwhenthe Marine
returnedfire.
The storyof Esequiel'sdeathis the topicof LuisJimenez's
lithographEl Buen Pastor.Jimenezhas nevershiedawayfrom
controversial
topicsas subjectsof his art.He uses his artto
commenton currentandhistoricalevents,societalattitudes,and
the politicalsituationsthatimpactourlives.His monumental
publicsculptures,prints,anddrawingshaveinstigated
provocativepublicdiscussionandawareness.
InEl Buen PastorJimenezuses a variationof good shepherd
iconographythathas traditionalChristianmeaningandcanbe
tracedbackto Classicalart The shepherdcarryinga sheepon his
shouldersis symbolicof the saviorof a repentantsinner.Inthis
print,the goatis heldin Esequiel'sleftarm,andhis righthandis
raisedin blessing.Formingthe figure'shalois the cross-hairsof a
riflescope,andbehindhimareMarinescamouflagedandtucked
intothe desertfoliage.Additionally,
Jimenezincludesa narrative
aboutthe incidentandhis commentaryonwhathe sees as racist
borderpolicy.
Activity
Havestudentsreadanaccountof a controversialstoryin a
newspaperormagazinearticle.Throughdiscussionorwritten
statement,havethemformanopinionaboutwhathappenedand
the socialimplicationsof the debate.Havestudentswritea
(continued)
JULY 2000 / ART EDUCATION
2000.1.1
GiftofMarcel
andEllieBourgon,
ElPasoMuseum
ofArtCollection,
ElBuenPastor,1999.Lithograph.
LuisJimenez,
ART EDUCATION / JULY 2000
INSTRUCTIONAL
descriptionor accountof the eventthattheycanuse as a pointof
departureforthe creationof aworkof art Encourageuse of
traditionalsymbolismto conveythe story.
Evaluation
Ina formalclasspresentation,havestudentspresentin oral
andvisualformthe outcomeof theirstudioproduction
assignmentStudentsshoulddemonstrateanunderstandingof
anartist'sopinion.Attendto
artas a vehicleforcommunicating
the clarityof the student'sopinion,viewpoint,andinterpretation
throughthe workof artandto the use of symbolismto convey
ideasin the interpretation.
GASPAR ENRIQUEZ
Generationof Attitudes,1992
Acrylicon fiberglassfoamboard
6' x 20' installed
ElPaso Museumof ArtCollection,RobertU. and
Mabel0. LipscombFoundation,93.1.1a-93.1.1g
Generationof Attitudesconsists of seven life-sizecutouts
installedon thegallerywall.Fromleftto rightthe figuresrepresent
threegenerationsof a Chicanosubculture.
Discussion
As anartteacheratBowieHighSchoolin El Paso,artist
GasparEnriquezencountersChicanoyouthcultureon a daily
basis.BowieHighSchoolis locatedin one of ElPaso'sbarrios
a Mexican(barriocanmeanneighborhoodor,in particular,
Americanneighborhood).Manyof his numerouscommunityarts
andmuralprojectsinvolveteens orformergangmembers.
Enriquezhas stayedclose to the cultureinwhichhe was
raised,andmanyofhis workscommunicateaspectsof that
culture.GenerationofAttitudesis a workaboutthe constancyof
thepachuco,tirilon,andcholosubcultureswithinthe Chicano
community,fromthe mid-to late-20thcentury.Accordingto
Enriquez,duringthe 1940sthepachuco(femalecounterpartis la
pachuca)set the precedentas a rebellious,Latinoyouthculture
(representedby the twoleftfigures).This culturewas conceived
in the turmoil,prejudice,poverty,andprideof the barrio.The
importance,andin
pachuco/a'sphysicalimagewas of particular
spiteof economicallyandraciallyspumedbarriers,the
pachuco/apridedthemselveson the crispcleanappearanceof
theirzootsuits,a fashionthatoriginatedin El Paso.Throughout
theirlives,thepachuco/aborea deepsense of nostalgiaforthe
"ZootSuit"eraof the 1940sand1950s.
of thisrebelliousculture,knowna
Latermanifestations
withthe returnof Chicanomenfrom
were
formed
Pachuquismo,
WWIIandthe KoreanConflict.These ChicanoveteransfromEl
Paso,LosAngeles,andelsewherereturnedto the oppressive
environmentsof the barrios.Althoughtheirlifestylesand
attitudestowardAnglo-dominated
societyremainedthe same,
theybeganto changetheirappearanceto a looser,morecasual
"look"thatincludedarmykhakis,woolshirts,andtirantes
(suspenders),fromwhichderivedthe termtirilon(represented
by the thirdandfourthfiguresfromthe left).
Inthe 1970sand1980scholos/asformedthe continuationof
Pachuquismo,andtheiroftennegativeassociationwithgangs
andgangculturebecamemoreprevalent(representedby the
threefiguresto the farright).Enriquezis notaimingat an
objectivejudgmentof these or anyothermembersofthe pachuco
subculture.He explains:
of theirlifestyleis subjective,andthe
Myinterpretation
viewer'sinterpretation
of [GenerationofAttitudes]
dependson his or her experiencewiththese peopleandthe
waytheylive....itis a continuousthreadin MexicanAmericanculturefromone generationto another.It'snot
uncommonfora guy my age whowas a tirilonto havehad
a fatherwhowaspachuco,andto havea son whois a cholo
(Donovan,1991).
The figuresin Enriquez'sinstallationarerenderedin black
andwhiteacrylicon fiberglassboardsandarereminiscentof the
commercialairbrushingfoundon lowridersorthe ubiquitous
graffitior"tags"scribedontomanywallswithin
spray-painted
El Paso'sbarrios.The figuresareinstalledalonga gallerywall
witheachcontaininga high degreeofpainterlydetailand
in spiteof the physicalflatnessof the medium.
dimensionally,
Enriquez'scholo/asareliterally"hangingout"in the gallery.
Activity
Usingperiodicalsornewspapers,havestudentsgather
photographsthatdepictfiguretypesthattheyfeel closelyreflect
themselvesandtheirfriends.Discussobjectiveandsubjective
depictionsof individualsor groupsof people.Discussself-image
andhowanimagecanbe imposedby others.Use the
photographsas eitheraninspirationfora drawingcompositionor
use the photosthemselvesto createa collagebasedon the image
the studenthas of self andindividualslikethem.
Evaluation
Students'studioproductionshouldrelatetheirself-imageto
theviewer.Ask studentsto expressinwritingor in class
discussionhowtheirworksdepicttheirself-image.Inclass
discussionorreflectivewriting,studentsshoulddemonstrate
theirunderstandingof howartists'depictionsandimagesseen in
the popularpressobjectifyor subjectivelyportraygroupsor
individuals.
JULY 2000 / ART EDUCATION
6 feetx 20feetinstalled.
onfiberglass
ofAttitudes,
1992.Acrylic
foamboard,
Generation
Enriquez,
Gaspar
0. Lipscomb
U.andMabel
Robert
Foundation,
ofArtCollection,
ElPasoMuseum
93.1.1a-93.1.1g
INSTRUCTIONAL
__
CARLOS CALLEJO
La Cruzada,1991
Pastel and Prismacoloron paper
5434"x 51"
El Paso Museumof ArtCollection,RobertU. and
Mabel0. LipscombFoundation,93.13.1
Discussion
El Paso,like LosAngeles,is a cityfilledwithmuralscreated
by localChicanoartistswho illustratethemes of politics,identity, andeconomywithinthe Mexican-American
community.One
notedmuralartistis CarlosCallejo,a nativeEl Pasoanwho also
livedandstudiedfor over30 yearsin LosAngeles.In recent
yearshe has completedseveralmuralsin the El Pasoarea,
includinga majorcommissionfor the city'snew courthouse.He
has dedicatedhundredsof volunteerhourspromotingpublicart
andworkingwithdisadvantaged
youth.
In La Cruzada(thecrossing),Callejohas chosento workin
pastelandPrismacolorpencilson paperratherthanin the mural
format Callejodepictswhatwas once a commonsight along
sectionsof the RioGrandein the El Paso/CiudadJuarezarea.
Beforethe massivefortification
effortsof "Operation
Blockade"
and "Operation
Holdthe line" were institutedby the U.S.
BorderPatrolandotherauthorities,Mexicanswouldoftencross
the dangerouslytorrentialriverwatersatoprubbertiretubes.
These impromptuferrymen,calledlancheros,wouldcharge
$2.00per trip,nearlyhalfa day'swages for manyworkersin
Juarez.
La Cruzadadepicts,froma dramatic,birds-eyeview,the story
of the familiesandindividualswho riskeverything,including
theirlives,for an opportunity
to live andworkin the United
States.
Activity
Discuss differentwaysfamilieshaveimmigratedto the
UnitedStates.Workwithsocialstudiesandhistoryteachers,
linkingthe discussionandreadingto immigrantexperiences
throughoutU.S.history.Havestudentswriteandillustratea
fictionalor historicaljournalrecountingor inventinga family's
immigrationexperience.
Evaluation
Studentsshouldexpressan immigrationexperiencein
writtenandvisualform.Journalsshoulddemonstratean
understandingof the immigrationexperienceandclarityof
expression.
Conclusion
Manyartiststakeinspirationfortheirartfromsocialissues
andpeoplein theircommunities.The worksof artthey produce
give us insightintothatpersonalrelationshipandcanbe the
basis for classroomdiscussionandprojects.Duplicatingthe
formatof this instructional
resourcewithothercommunitybasedworksof artis an interestingpointof departurefor
classroomartinstruction.
Lori Eklund is curatorof education,El Paso Museum ofArt,
El Paso, TX.JerryMedranois assistantcuratorof collections,
El Paso MuseumofArt, El Paso, TX.
REFERENCES
Donovan,K (Ed.) (1991).Capirotada:
EightEl Pasoartists.El Paso
Museumof Art,19-20.
Williams,K (1994,September17).Artistdepictsjoy of Hispanic
relationships.Las CrucesSun-Times,p. A14.
JULY 2000 / ART EDUCATION
x 51inches.
onpaper,
544 inches
1991.Pastel
andPrismacolor
LaCruzada,
Carlos
Callejo,
93.13.1
U.andMabel0. Lipscomb
Robert
ElPasoMuseumofArtCollection,
Foundation,
ART EDUCATION/ JULY 2000