Chicana art

In 1976, co-founders Judy Baca (the only Chicana), Christina Schlesinger, and Donna Deitch established the Social and Public Art Resource Center (SPARC). It consisted of studio and workshop spaces for artists. SPARC functioned as an art gallery and also kept records of murals. SPARC is still active and encourages a space for Chicana/o community collaboration in cultural and artistic campaigns.[3]

Las Chicanas members were women only and included artists Judy Baca, Judithe Hernández, Olga Muñiz, and Josefina Quesada. In 1976, the group exhibited Venas de la Mujer in the Woman's Building.[3]

Muralist Judithe Hernández joined the all-male art collective in 1974 as its fifth member.[3] The group already included Frank Romero, Beto de la Rocha, Gilbert Luján, and Carlos Almaráz.[4] The collective was active in the 1970s through early 1980s.[3]

La Ofrenda, Yreina Cervántez, Los Angeles, 1989

[5] The Great Wall of Los Angeles, Judy Baca, Los Angeles, 1978

Murals were the preferred medium of street art used by Chicana artists during the Chicano Movement.[3] Judy Baca led the large-scalecale project for SPARC, The Great Wall of Los Angeles. It took five summers to complete the 700 meter long mural. The mural was completed by Baca, Judithe Hernández, Olga Muñiz, Isabel Castro, Yreina Cervántez, and Patssi Valdez in addition to over 400 more artists and community youth. Located in Tujunga Flood Control Channel in the Valley Glen area of the San Fernando Valley, the mural depicts California’s erased history of marginalized people of color and minorities.[3]

In 1989, Yreina Cervántez along with assistants Claudia Escobedes, Erick Montenegro, Vladimir Morales, and Sonia Ramos began the mural, La Ofrenda, located in downtown Los Angeles. The mural, a tribute to Latina and Latino farm workers, features Dolores Huerta at the center with two women arched the history of Los Angeles and met with historians as she originally planned out the mural. The mural was halted after Carrasco refused alterations demanded from City Hall due to her depictions of formerly enslaved entrepreneur and philanthropist Biddy Mason, the internment of Japanese American citizens during World War II, and the 1943 Zoot Suit Riots.[6]

Performance art was not as popularly utilized among Chicana artists but it still had its supporters. Patssi Valdez was a member of the performance group Asco from the early 1970s to the mid-1980s. Asco’s art spoke about the problems that arise from Chicanas/os unique experience residing at the intersection of racial, gender, and sexual oppression.[3]

Linda Vallejo. "Electric Oaks on the Hillside." 60 x 84 in. Oil on canvas. 2007

Over the years, la Virgen de Guadalupe has been used by Chicana artists to explore themes of repression and feminine strength.[14] She has become a symbol through which artists have attempted to eradicate the stigmas facing women’s place in society and ownership of their bodies. Alma López, Margarita “Mita” Cuaron, Yolanda López and Ester Hernandez are two Chicana feminist artists who used reinterpretations of La Virgen de Guadalupe to empower Chicanas. La Virgen as a symbol of the challenges Chicanas face as a result of the unique oppression they experience religiously, culturally, and through their gender.[15]

• Alma López focuses on eradicating the stigmas surrounding women. She painted “Our Lady” in 1999, which portrays a modern Virgen de Guadalupe unclothed, supported by an unclothed “angel” with the wings of a monarch.[16] La Virgen wears nothing but flowers, but stands powerfully with her hands at her hips and her face expressing confidence and seriousness. She has reimagined the traditional icon to explore the shamelessness she believes should stem from a woman of today who does not conform to the expectation of society. Especially since La Virgen his typically clothed from head to toe, this piece of art challenges the themes the original pushes forward, including modesty and subservience. She expresses the need for ownership of the indigenous body.[17] Alma López also painted “Lupe and Sirena in Love” in 1999, which depicts the traditional Virgen de Guadalupe, nicknamed Lupe, lovingly embracing a mermaid.[18] This is Alma López's commentary on Catholic Church teaching regarding sexuality and gender. She portrays a sacred individual romantically embracing another woman, directly challenging commonly followed beliefs that ostracize LGBTQ individuals. Alma López pushes the boundaries that confine the common woman, depicting La Virgen de Guadalupe in modern and controversial light as she paints. "Our Lady of Controversy: Alma Lopez's 'Irreverent Apparition'" (2011) demonstrates some of the angry responses she has received for her work. "Irreverent Apparition" is mixed media and is a sacrilegious depiction of La Virgen.
• Margarita “Mita” Cuaron focuses on light and rebirth when she paints La Virgen de Guadalupe. In her artwork “Virgen de Guadalupe Baby” from 1992, Cuaron toys with the idea of a symbol that never stays static. In her pieces, La Virgen has come to mean the cycle of life.[19] She depicts a baby surrounded by the womb, which is shaped by clouds and La Virgen's typical sunlight and green garments. Within the child's clasped hands is a light red heart.[20] The child is sheltered by the womb, which offers protection from the outside world.
• Like Alma Lopez, Yolanda López also focuses on themes of sexuality and the stigmas of women when she portrays La Virgen de Guadalupe. In her piece, “Love Goddess” from 1978, Yolanda López merges the image of La Virgen with an image of Sandro Bottecelli's “The Birth of Venus” from the mid 1480s.[21] She makes the commentary that Christian nature rejects the natural appearance of women's bodies by embracing the fact that at an even earlier age, the Greek mythology would embrace it without the shame and fear that has developed.[22] Yolanda López challenges the virginal image by eradicating the stigma and sin that often associates; she infuses a sacred religious image with sexuality so as to celebrate it rather than be ashamed.
• Ester Hernández references the sacred Virgen de Guadalupe in her painting, La Ofrenda (1988).[23] Painting recognizes lesbian love, challenges the traditional role of la familia. It defied the reverence and holiness of La Virgen by being depicted as a tattoo on a lesbian's back. She also painted La Virgen de Guadalupe Defendiendo los Derechos de Los Xicanos (1975).[24]

The idea of sharing the erased history of Chicanas/os has been popular among Chicana artists beginning in the 1970s until present day. Judy Baca and Judithe Hernández have both utilized the theme or correcting history in reference to their mural works. In contemporary art, Guadalupe Rosales uses the theme of collective memory to share Chicana/o history and nostalgia.