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  • ICAA Record ID
    795692
    TITLE
    Xicano progeny : investigative agents, executive council, and other representatives from the sovereign state of Aztlan / Armando Rascón
    IN
    Xicano Progeny :investigative agents, executive council, and other representatives from the sovereign state of Aztlan. -- San Francisco, CA: The Mexican Museum, 1995.
    DESCRIPTION
    p. 9 - 18
    LANGUAGES
    English
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    Rascón, Armando. “Xicano progeny : investigative agents, executive council, and other representatives from the sovereign state of Aztlan.” In Xicano Progeny :investigative agents, executive council, and other representatives from the sovereign state of Aztlan, 9–18. San Francisco, CA: The Mexican Museum, 1995.
    TOPIC DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
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Synopsis

This essay by Armando Rascón was included in the catalogue of the exhibition, Xicano Progeny, curated by him and held at the Mexican Museum in San Francisco, California, in 1995. According to Rascón, one of the main objectives of Xicano Progeny was to examine the waning influence of Chicano ideology among the barrio (i.e. working-class neighborhoods in the United States with mostly Spanish-speaking residents) youth, as well as to define the key concerns of the new; what he calls, Revolutionary Generation (in reference to Chicano political movement). Rascón believes that central to achieving these objectives is promotion of self-criticism and political empowerment, and the rejection of self-victimization among Chicanos. He also briefly discusses the work of each artist in the exhibition: Daniel J. Martinez, Lucia Grossberger-Morales, Marisa Hernandez, Iñigo Manglano-Ovalle, Elisa Jimenez, Ruben Ortiz, and Francesco Siqueiros.

Annotations

Armando Rascón, an artist and curator, uses the framework of the Chicano Movement’s concept of “Aztlan” as a point of departure and historical reference to review and reassess the art of a younger generation of Latino artists in the 1990s. Not limiting himself to only Mexican-Americans or Chicano artists, Rascón includes Spanish, South American (Manglano-Ovalle and Grossberger-Morales), and Mexican (Siqueiros and Ortiz) artists who have made the United States their home and artistic focus. Unique to this exhibition and as delineated in his essay is Rascón’s concept of “Chicano” as an oppositional stance that is not narrowly linked to nationalist political terms, but instead by mirroring the the reality of contemporary communities caught in global migration. However, even though the essay questions what “Chicano” or “Latino” art is—especially after the Chicano Movement—it reasserts the importance of the Chicano Movement in the genealogy of this new generation of Latino artists.

Researcher
Tere Romo
Team
Chicano Studies Research Center, UCLA, Los Angeles, USA