The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
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.
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an artist and curator, uses the framework of the Chicano Movement’s concept of “Aztlan” as a point of departure and historical reference to review and reassess the art of a younger generation of Latino artists in the 1990s.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.