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.
In this essay, Michael Crockford discusses how the artistic practices of Yolanda Lopez combine feminism, activism, and community building. He observes that Lopez challenges indeed lowly depictions of Mexican-Americans in the United States by portraying Mexican-American women as productive and powerful figures. Alternatively, Lopez appropriates images from American mass media to expose racial, ethnic, and gender biases in representations of Latinos. Through her posters and prints, Lopez circulates alternative images of Mexican-Americans in popular culture. Crockford relates Lopez’s work to artists such as Coco Fusco and Guillermo Gómez-Peña whose performances parody Eurocentric representations of non-Western people as primitive and exotic.
The catalogue, The Latina Artist: The Response of the Creative Mind to Gender, Race, Class, and Identity, where this essay was published, was the end product of an interdisciplinary class taught by professors Isabel Nazario and Judith Brodsky at Rutgers University, in 1997.The teachings intermingled methodologies from art history, Latin American studies, and women studies and involved students documenting the work of seven prominent Latina artists in residence: Catalina Parra, Magdalena Campos-Pons, Analee Davis, Anaida Hernández, Yolanda López, Coco Fusco, and Amelia Mesa-Bains.This is the English version of doc. No. 841988.