Chicano Archives: Artistas Chicanos Los Quemados ⇒
is an invitation to a group exhibition by the Chicano artist
collective, Los Quemados, at the Instituto Cultural Mexicano in San
Antonio, Texas, in 1975. Along with presenting information regarding the
exhibition dates, inaugural reception, and program, the invitation also
includes the name of the artists and a brief statement defining the
goals of the collective and their artistic philosophy. As listed, Los
Quemados was comprised of the following artists from Austin and San
Antonio: Santa Barraza, Carolina Flores, Carmen Lomas Garza, Luis
Guerra, Cesar Augusto Martinez, Santos Martinez, Amado Maurilio Peña,
José Rivera, Vicente Rodriguez, and José Treviño.
exhibition announced in the invitation was the first group show for Los
Quemados, a collective formed after its San Antonio predecessor, Con
Safo, broke up in 1975 following disagreement among its members over the
definition of Chicano art. The artists that formed Los Quemados
believed that Chicanos should be able to create art that was not only
“an artistic arm of a political ideology.” They also sought to affirm
the creation of artworks that expanded rather than limited the
perceptions of Chicano art. Both in its historical importance and
aesthetic stance, the text gives testimony to the widespread artistic
dialogues and disagreements that developed in the 1970s regarding the
role of Chicano art.
Researcher: Tere Romo
Team: Chicano Studies Research Center, UCLA, Los Angeles, USA, Car insurance quotes
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Chicano Art Essay: Towards a Critical Mass: Documenting the State of Chicano Art ⇒
Towards a Critical Mass: Documenting the State of Chicano Art
(PDF, 618 KB)
Tere Romo, UCLA Chicano Studies Research Center
Chicano Art Archives: Tomás Ybarra-Frausto Research Material on Chicano Art - Archives of American Art, Smithsonian Institution ⇒
In 1997, the Archives of American Art received a donation of 20 linear
feet of research material on the Chicano art movement in the United
States and Latin America, compiled by Dr. Tomás Ybarra-Frausto.
Ybarra-Frausto was a professor at Stanford University in the department
of Spanish and Portuguese and has published extensively on Latin
American and U.S. Latino culture. Selected items from this collection
were exhibited at the Archives New York Research center in the fall of
Image: El Teatro Campesino Fundraiser, 1978
Creator: Royal Chicano Air Force
Chicano Art Publication: VIVA Records, 1970-2000: Lesbian and Gay Latino Artists of Los Angeles (The Chicano Archives) ⇒
Hernandez, Robb. 2013. VIVA Records, 1970-2000: Lesbian and Gay Latino Artists of Los Angeles.
VIVA Records, 1970-2000: Lesbian and Gay Latino Artists of Los
Angeles (The Chicano Archives). Robert Hernandez traces the history and
assesses the impact of VIVA! Lesbian and Gay Latino Artists, a nonprofit
artists’ coalition founded in 1987 in the Silverlake community of Los
Angeles. Their aim was to increase the representation of lesbian Latina
and gay Latino artists in the LA art scene.
Chicano Art Publication: Tradition and Transformation: Chicana/o Art from the 1970s through the 1990s ⇒
Goldman, Shifra M., Charlene Villaseñor Black, and Chon A. Noriega. 2015. Tradition and transformation: Chicana/o art from the 1970s through the 1990s.
Pioneering art historian Shifra Goldman brought the study of Chicana/o
and contemporary Latin American art to the notice of art history. She
was determined to correct the stereotypes that had distorted the
critical reception of Chicana/o and Latina/o art since the 1950s. This
collection of essays, edited and introduced by Charlene Villaseñor
Black, not only represents her groundbreaking scholarship but also
reflects her political activism. In these writings Goldman considers
important theoretical issues, including how the Chicano movement
influenced and was influenced by artists in the Southwest and Mexico and
how different artistic visions clashed and interacted. She also
investigates the careers of major Chicana/o artists, discusses specific
series of artworks, and analyzes exhibitions, beginning with the
historic Chicano Art: Resistance and Affirmation, which opened in
Los Angeles in 1990 and then traveled cross-country, closing in
Washington, DC, in 1993. Many of the illustrations have not been widely
reproduced, adding to the importance of this collection.
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Chicano art residency: WOODSTOCK AIR Program ⇒
A residency program for artists of color working in the photographic arts.
The Woodstock Artist-in-Residency Program is designed to support
artists of color working in the photographic arts who reside in the
United States that would benefit with access to time, facilities,
financial, critical, and technical support. This activity is created
with an emphasis on supporting artists working in the photographic arts
who are at the brink of their careers and promising talent. All of us
lead very busy lives – the drive for this program is to free the artist
from the busy routines and demands of everyday – and to provide a
sanctuary for creativity.
WOODSTOCK A-I-R was listed among the top 20 residency programs in the U.S. by Artinfo.
WOODSTOCK A-I-R encourages participants to pursue creative
risk-taking in an environment rich in cultural resources. Working
without distraction or interruption, participants focus intensely on
their own work, continuing works in progress, setting goals for the
future, and breaking new ground.
Each year CPW offers 7 residencies for artists of color and 1 “critical studies residency” for a curator/critic of color.
accommodations at a historic artist residence located within walking
distance from CPW and the center of Woodstock’s business district
24/7 access to CPW’s workspace facilities (including black-&-white darkroom, digital imaging stations, and library)
critical and technical support
stipend for food and travel, and honorarium
exhibition and related opportunities
Established in 1999, WOODSTOCK A-I-R has been made possible in part
with support from the Phillip & Edith Leonian Foundation, the Milton
& Sally Avery Foundation, the National Endowment for the Arts, and
the New York State Council on the Arts (NYSCA), a state agency, with
support from Governor Andrew Cuomo and the New York State Legislature.
The Center for Photography at Woodstock was a member of the New York
State Artist Workspace Consortium (NYSAWC). For more information on
NYSAWC and how organizations like CPW are providing essential support
for working artists, please visit www.nysawc.org.
For more information on WOODSTOCK A-I-R program, please contact us.
Chicano Art Conference: Latino Art Now! Re-imaging Global Intersections ⇒
CALL FOR PAPERS AND PARTICIPATION Latino Art Now! Re-imaging Global Intersections ConferenceFifth Biennial ConferenceApril 7-9, 2016Chicago, Illinois
Latino Art Now! Re-imaging Global Intersections Conference in Chicago
will examine the contemporary shifting contours of US Latino art and the
and global cultural forces that continuously shape it and how it in turn
shapes these forces.
mid-decade we are witnessing growth of the field in American Art
History as well as in Latino visual culture. Renewed visibility for
artists in a wave of major
exhibitions at national museums and galleries, the expansion of
curatorial and academic infrastructure, and new publication and research
initiatives tend to signal wider and expanding opportunities. Can we
at the present moment map Latino art activity within
a larger transnational, hemispheric and global context and discourse?
Can we re-image a more global American art? How have Latino artists
entered transnational and global art networks? Taking cities as
critical spaces of globalization, what can we say of
urban interventions as sites of artivism? What are the future
directions? In other words, what is Latino Art Now?
We invite multidisciplinary submissions of 300-500 word paper abstracts on the following themes:
· Artivisms/Social Practice Art
· The City as Site and Source
· Outside the White Cube: Digital Interventions
· Queer Geographies of Latino Art
· Intersections: Latino/Latin American
· Comparative Art Histories
· Curatorial Negotiations: Authority and Display
· Recalibrating Framework and Canon
· Art from Emergent Latino Groups
· Public/Private Collecting and Collections
· Global Networks and Intersections
· Latino Futurisms
· Recovering Early Artists and Legacies
· Reassessing Design and Architecture
· Latino Art Market
· Art as an Economic Stimulus
· Defying Categories
Abstract Submissions and Deadline for Conference Papers, Panels, Roundtable Conversations
conference organizers seek original, innovative papers and panels
engaging a wide range of visual media including painting, sculpture,
graphics, photography, installation,
architecture and design, digital and new media.
In addition, the conference will feature a series of Roundtable Conversations on Artists in the Making of the Equitable City.
Please submit paper/panel/roundtable abstracts electronically to: firstname.lastname@example.org
Abstract/CV Submission deadline is Monday, October 19, 2015
IUPLR Conference Program Committee will select papers that will be
presented at the conference. Selected panelists will be notified via
email by Monday, November
conference papers should be 20 minutes in length (10 pages
double-space). We request that each selected panelist submit a finished
paper no later than March
15, 2016. All accepted presenters must register.
Latino Art Now! Conference
Latino Art Now Conference was first held in 2005 at Hunter College in
New York. Since then, it has become the leading national forum for
artists, art historians,
art professionals, educators, scholars, critics, collectors and art
dealers. Its overarching conceptual aim is to explore U.S. Latino art
as part of contemporary American visual culture and art while advancing
awareness, education, scholarship and knowledge
in this emerging filed of inquiry.
Conference Website: http://www.latino.si.edu/LatinoArtNow/_PDF/LAN2016_call4papers.pdf Conference Venues
Chicago Cultural Center
Thursday, April 7, 2016
78 E Washington St, Chicago, IL 60602
University of Illinois at Chicago Student Center East, Conference Center
Friday and Saturday, April 8-9, 2016
750 Halsted Street, Chicago, IL 60607
National Museum of Mexican Art
Friday, April 8, 2016
1852 West 19th Street, Chicago, IL 60608
Puerto Rican Arts Alliance
Saturday, April 9, 2016
3000 North Elbridge, Chicago, IL 60618
All conference attendees must register
General Registration: $90/$35 per day
Artists Registration: $40/$15 per day
Student Registration with ID: $25/$10 per day
includes admittance to all panel sessions, workshops, art exhibitions
and book fair; admittance to plenary session, welcoming reception on
admittance to the reception on Friday at the National Museum of Mexican
Art; admittance to the reception at UIC; and LAN Conference Program
Transportation and Hotel
All registered participants are responsible for their own reservations, air or ground transportation, and lodging costs.
LAN Conference Hotels are (Pending room block agreement)
The Crowne Plaza Chicago Metro Downtown
733 West Madison, Chicago, IL 60661 (312) 829-5000
The W Hotel City Center
172 W Adams St, Chicago, IL 60603 (312)
332-1200LAN Conference is organized by
· Inter-University Program for Latino Research (IUPLR)
headquartered at the University of Illinois at Chicago and The Smithsonian Latino Center, Smithsonian Institution
For additional information or questions regarding this Call for Papers, please contact Olga Herrera at email@example.com
Chicano Art Conference: Latino Art Now! 2013 Conference at the Smithsonian Latino Center ⇒
Since 2005 the Latino Art Now! Conference has become the leading national forum for artists, art historians, art professionals, educators, scholars, critics and art dealers. Its overarching conceptual aim is to explore U.S. Latino art and its relationship to contemporary American visual culture and art while advancing awareness, education, scholarship and knowledge in this emerging field of inquiry.
Latino Art Now! Nuestra América: Expanding Perspectives in American Art Fourth Biennial Conference