Karen Mary Davalos
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816677252
- eISBN:
- 9781452947440
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816677252.003.0011
- Subject:
- Art, Art History
This chapter discusses the contributions of Chicana artist Yolanda M. López to print culture. Through print culture produced between 1969 and 1970, the first period of her professional artistic ...
More
This chapter discusses the contributions of Chicana artist Yolanda M. López to print culture. Through print culture produced between 1969 and 1970, the first period of her professional artistic career, López sought to alter consciousness among Latinas living in the San Francisco-Oakland Bay Area. Emblematic of the counterculture of the 1960s and 1970s, her activism illustrates a rejection of the status quo, the desire to build consciousness—both cultural and political—and the embrace of self-determination as a means toward enfranchisement. Her venues of exhibition were the visual modes distinctive to countercultural movements: the button, the placard, the poster, the mimeographed flyer, and the alternative newspaper.Less
This chapter discusses the contributions of Chicana artist Yolanda M. López to print culture. Through print culture produced between 1969 and 1970, the first period of her professional artistic career, López sought to alter consciousness among Latinas living in the San Francisco-Oakland Bay Area. Emblematic of the counterculture of the 1960s and 1970s, her activism illustrates a rejection of the status quo, the desire to build consciousness—both cultural and political—and the embrace of self-determination as a means toward enfranchisement. Her venues of exhibition were the visual modes distinctive to countercultural movements: the button, the placard, the poster, the mimeographed flyer, and the alternative newspaper.
María Del Socorro Castañeda-Liles
- Published in print:
- 2018
- Published Online:
- March 2018
- ISBN:
- 9780190280390
- eISBN:
- 9780190280437
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190280390.003.0009
- Subject:
- Religion, Religion and Society
Chicana feminist interpretations of Our Lady of Guadalupe tend to depart from traditional representations and have caused controversy. This chapter examines the responses of three different groups of ...
More
Chicana feminist interpretations of Our Lady of Guadalupe tend to depart from traditional representations and have caused controversy. This chapter examines the responses of three different groups of women of different ages and backgrounds to some of these feminist artistic representations of Our Lady of Guadalupe in order to explore how the women articulate feminism and how their own definitions relate to their understanding of this sacred figure. The chapter analyzes how Las Damas, Las Madres, and Las Mujeres’ understanding of La Virgen informs their responses, revealing much about their understanding of feminism and the workings of lived religion in their Mexican Catholic imagination.Less
Chicana feminist interpretations of Our Lady of Guadalupe tend to depart from traditional representations and have caused controversy. This chapter examines the responses of three different groups of women of different ages and backgrounds to some of these feminist artistic representations of Our Lady of Guadalupe in order to explore how the women articulate feminism and how their own definitions relate to their understanding of this sacred figure. The chapter analyzes how Las Damas, Las Madres, and Las Mujeres’ understanding of La Virgen informs their responses, revealing much about their understanding of feminism and the workings of lived religion in their Mexican Catholic imagination.
Elissa Auther and Adam Lerner (eds)
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816677252
- eISBN:
- 9781452947440
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816677252.001.0001
- Subject:
- Art, Art History
In the heady and hallucinogenic days of the 1960s and 1970s, a diverse range of artists and creative individuals based in the American West—from the Pacific coast to the Rocky Mountains and the ...
More
In the heady and hallucinogenic days of the 1960s and 1970s, a diverse range of artists and creative individuals based in the American West—from the Pacific coast to the Rocky Mountains and the Southwest—broke the barriers between art and lifestyle and embraced the new, hybrid sensibilities of the countercultural movement. Often created through radically collaborative artistic practices, such works as Paolo Soleri’s earth homes, the hand-built architecture of the Drop City and Libre communes, Yolanda López’s political posters, the multisensory movement workshops of Anna and Lawrence Halprin, and the immersive light shows and video-based work by the Ant Farm and Optic Nerve collectives were intended to generate new life patterns that pointed toward social and political emancipation. This book elaborates the historical and artistic significance of these counterculture projects within the broader narrative of postwar American art, which skews heavily toward New York’s avant-garde art scene. This west of center countercultural movement has typically been associated with psychedelic art, but the contributors to this book understand this as only one dimension of the larger, artistically oriented, socially based phenomenon. At the same time, chapters here reveal the disciplinary, geographic, and theoretical biases and assumptions that have led to the dismissal of countercultural practices in the history of art and visual culture, and they detail how this form of cultural and political activity found its place in the West.Less
In the heady and hallucinogenic days of the 1960s and 1970s, a diverse range of artists and creative individuals based in the American West—from the Pacific coast to the Rocky Mountains and the Southwest—broke the barriers between art and lifestyle and embraced the new, hybrid sensibilities of the countercultural movement. Often created through radically collaborative artistic practices, such works as Paolo Soleri’s earth homes, the hand-built architecture of the Drop City and Libre communes, Yolanda López’s political posters, the multisensory movement workshops of Anna and Lawrence Halprin, and the immersive light shows and video-based work by the Ant Farm and Optic Nerve collectives were intended to generate new life patterns that pointed toward social and political emancipation. This book elaborates the historical and artistic significance of these counterculture projects within the broader narrative of postwar American art, which skews heavily toward New York’s avant-garde art scene. This west of center countercultural movement has typically been associated with psychedelic art, but the contributors to this book understand this as only one dimension of the larger, artistically oriented, socially based phenomenon. At the same time, chapters here reveal the disciplinary, geographic, and theoretical biases and assumptions that have led to the dismissal of countercultural practices in the history of art and visual culture, and they detail how this form of cultural and political activity found its place in the West.
