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  • ICAA Record ID
    820637
    TITLE
    De cómo el arte Chicano es tan indocumentado como los indocumentados / por Carla Stellweg
    IN
    Artes Visuales.(México, D. F., México). --No. 29 (Jun. 1981)

     

     

    DESCRIPTION
    p. 23-28 : ill.
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Journal article – Essays
    BIBLIOGRAPHIC CITATION
    Stellweg, Carla. "De cómo el arte Chicano es tan indocumentado como los indocumentados." Artes Visuales.(México, D. F., México) No. 29 (Jun. 1981): 23-28
Editorial Categories [?]
Synopsis

In a continuation of an article published in Artes Visuales in 1978, Carla Stellweg provides an overview of issues relevant to Chicano art and the diverse approaches artists use to negotiate such conditions. She further outlines how early Chicano artists, guided by the example of Mexican muralism, worked to develop collective and militant practices as part of a struggle for social and economic rights and also with what they contended from the art establishment. Surveying recent documents and publications, Stellweg brings to the fore a number of contemporary artists who engage with the art market and institutions to varying degrees, while attempting to maintain a commitment to the politics of the Chicano movement. The author concludes the essay by discussing the work of artists (the Los Angeles conceptual artist group, Asco, among others) that have moved away from didacticism and embrace either a more personal or pluralist perspective. The ones that also engage with subjects extending beyond Chicano politics or identity, while remaining sympathetic to the Chicano movement

Annotations

Carla Stellweg is a Dutch-born Mexico-based curator and one of the founders of the magazine, Artes Visuales, published at the Museo de Arte Moderno in Mexico City. In this Spanish translation, Stellweg cites examples of the tensions navigated by Chicano artists and discusses the way that United States mainstream critics have dismissed the work of the seminal Los Angeles art collective Los Four as “barrio folklore,” while at the same time the group was criticized by members of the community for being either “museumized” or corrupted by exhibiting their work in 1974 at the Los Angeles County Museum of Art. In a discussion of the exhibition, Ancient Roots/New Visions, Stellweg also identifies an emerging trend in showing Latino artists together regardless of their political commitments; their work is shown alongside that of Latin American artists without any explicit articulation of the motivation guiding such an exhibition strategy. However, Stellweg does not explain why she included Ana Mendieta and Jerry Dreva in this special issue on Chicano art. Overall, the true value of this essay is that it offers an opportunity to see Chicano art from a Mexican perspective, which in the 1970s or 1980s was quite rare. Stellweg currently lives and works in New York City.

For the Spanish version of this document see record #820782.

 

Researcher
Tere Romo
Team
Chicano Studies Research Center, UCLA, Los Angeles, USA
Credit
Courtesy of the private archives of Carla Stellweg, New York, NY