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Chicano Art: Resistance and Affirmation

{{Short description|1990–1993 traveling art exhibit in the US}}

{{Italic title}}

{{Chicano and Mexican American topics sidebar|state=collapsed}}

Chicano Art: Resistance and Affirmation (or CARA) was a traveling exhibit of Chicano/a artists which toured the United States from 1990 through 1993.{{Cite web|url = http://pdf.oac.cdlib.org/pdf/ucla/clucs/CARA.pdf|title = Finding Aid for the CARA: Chicano Arts: Resistance and Affirmation Papers 1985 - 1994|date = 2009|access-date = 28 March 2015|website = Online Archive of California|publisher = California Digital Library|archive-url = https://web.archive.org/web/20150906182417/http://pdf.oac.cdlib.org/pdf/ucla/clucs/CARA.pdf|archive-date = 2015-09-06|url-status = live}} CARA visited ten major cities and featured over 128 individual works by about 180 different Chicano/a artists.{{Cite book|title = Chicano Art Inside/Outside the Master's House: Cultural Politics and the CARA Exhibition|last = Gaspar de Alba|first = Alicia|publisher = University of Texas Press|year = 1998|isbn = 9780292788985|url = https://books.google.com/books?id=thfceMtIojEC&dq=Chicano+Art+Inside%2FOutside+the+Master%27s+House%3A+Cultural+Politics+and+the+Cara+Exhibition&pg=PA29|access-date = 31 March 2015|edition = 3rd|publication-date = 2003|archive-url = https://web.archive.org/web/20160610133305/https://books.google.com/books?id=thfceMtIojEC&lpg=PA26&dq=Chicano%20Art%20Inside%2FOutside%20the%20Master%27s%20House%3A%20Cultural%20Politics%20and%20the%20Cara%20Exhibition&pg=PA29#v=onepage&q=Chicano%20Art%20Inside/Outside%20the%20Master's%20House:%20Cultural%20Politics%20and%20the%20Cara%20Exhibition&f=false|archive-date = 2016-06-10|url-status = live}} The show was also intended to visit Madrid and Mexico City.{{Cite news|url = https://www.latimes.com/archives/la-xpm-1990-08-30-ti-678-story.html|title = Touring Retrospective Examines Chicano Art|last = Ramos|first = Lydia|date = 30 August 1990|work = Los Angeles Times|access-date = 31 March 2015|archive-url = https://web.archive.org/web/20151029061149/http://articles.latimes.com/1990-08-30/news/ti-678_1_chicano-art|archive-date = 2015-10-29|url-status = live}} CARA was the first time a Chicano exhibit received major attention from the press and it was the first exhibit that collaborated between Chicanos and major museums in the U.S. The show was considered a "notable event in the development of Chicano art."{{Cite web|url = http://www.aaa.si.edu/collections/toms-ybarrafrausto-research-material-chicano-art-5563/more#colldesc|title = Tomás Ybarra-Frausto research material on Chicano art, 1965-2004|access-date = 31 March 2015|website = Archives of American Art|publisher = Smithsonian Institution|last = Estrada|first = Henry C.|archive-url = https://web.archive.org/web/20151001043433/http://www.aaa.si.edu/collections/toms-ybarrafrausto-research-material-chicano-art-5563/more#colldesc|archive-date = 2015-10-01|url-status = live}} Another unique feature of CARA was the "extensive planning" that attempted to be as inclusive as possible and which took place more than five years prior to the opening at Wight Art Gallery.

The final touring exhibit included paintings, murals and installations. Over forty murals were shown via slideshow. The first section of the show contained a short history of Chicanos going back to the pre-Columbian era, discussing the concept of Aztlán and including significant events up until 1965. The other areas of the exhibit were divided into themes that were representative of the Chicano movement: Feminist Visions, Reclaiming the Past, Regional Expressions and Redefining American Art.{{Cite book|title = Chicana and Chicano Art: ProtestArte|last = Jackson|first = Carlos Francisco|publisher = University of Arizona Press|date = 14 February 2009|isbn = 9780816526475}} There were also three separate spaces devoted to the important Chicano collective arts movements, Asco, Los Four and the Royal Chicano Air Force. Uniquely, at the time for a museum show, the art was shown in context with the history and politics of the Chicano movement.{{Cite book|title = Handbook of Hispanic Cultures in the United States: Literature and Art|last = Cockcroft|first = Eva Sperling|publisher = Arte Publico Press|year = 1993|isbn = 9781611921632|location = Houston, Texas|pages = 194|chapter-url = https://books.google.com/books?id=bC1FU07kVeoC&dq=CARA+exhibit+chicano&pg=PA194|access-date = 31 March 2015|chapter = From Barrio to Mainstream: The Panorama of Latino Art|editor-last = Lomeli|editor-first = Francisco|editor-last2 = Kanellos|editor-first2 = Nicolas|editor-last3 = Esteva-Fabregat|editor-first3 = Claudio}} In addition, the art shown in the exhibit was "created by Chicanos for other Chicanos."

CARA's name is also a play on words since the Spanish word for face is cara.{{Cite book|title = Representing the Passions: Histories, Bodies, Visions (Issues & Debates)|last = Meyer|first = Richard|publisher = Getty Research Institute|date = 27 February 2003|isbn = 9780892366767|pages = 261|url = https://books.google.com/books?id=wCnuRF5_lOwC&dq=CARA&pg=PA261|access-date = 31 March 2015}}

History

The CARA exhibit was created through the joint actions of the Wight Art Gallery at the University of California, Los Angeles (UCLA) and the CARA National Advisory Committee.{{Cite book|title = Chicano Art: Resistance and Affirmation|publisher = Wight Art Gallery|year = 1991|isbn = 0943739152|location = Los Angeles, California|pages = 26–32|chapter = Preface: The CARA Exhibition|editor-last = Castillo|editor-first = Richard Griswold Del|editor-last2 = McKenna|editor-first2 = Teresa|editor-last3 = Yarbro-Bejarano|editor-first3 = Yvonne}} These two groups started planning in 1984, but the idea for the exhibit began in 1983, when Cecelia Klein, Shifra Goldman, and several graduate students (Maria de Herrera, Holly Barnet-Sanchez and Marcos Sanchez-Tranquilino) asked the new director of the Wight Art Gallery, Edith Tonelli, about creating a unique Chicano art exhibit. The Wight Art Gallery, with help from Klein and Goldman, applied for funds from the National Endowment for the Humanities (NEH). They were originally turned down because the word "Chicano" made some of the backers "uncomfortable."{{Cite book|title = Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora|last = Davalos|first = Karen Mary|publisher = University of New Mexico Press|date = 15 November 2002|isbn = 9780826319005|url = https://books.google.com/books?id=O8UK3VkkHVsC&dq=cara&pg=PA97|access-date = 31 March 2015}} Other topics addressed by CARA, such as a critical stance on American cultural politics and the "myth of the melting pot" also intimidated the NEH.{{Cite web|url = http://www.latinoartcommunity.org/community/Gallery/Millennium/Foreword.html|title = Chicano Art: Three Encounters|date = 19 September 2004|access-date = 31 March 2015|website = Chicano Art for Our Millennium|publisher = Mesa Southwest Museum|last = Wilson|first = Thomas H.|archive-url = https://web.archive.org/web/20120104084742/http://latinoartcommunity.org/community/Gallery/Millennium/Foreword.html|archive-date = 2012-01-04|url-status = live}} A second try for funds from the NEH took place in 1985 and the term Chicano was carefully explained and outlined. This time, after "considerable debate," funds were granted in 1986. The disbursement of funds took some time, however, because of controversy in Congress about censorship, funding the arts and the proposed defunding of programs. Eventually the Rockefeller Foundation stepped in and helped during the initial planning process and the implementation phases of the project.

The project rejected the conventional structure of having a single curator for the art and chose instead to collaborate on control of the art and administration. Those involved with the project were very careful to work with the Chicano community so that Chicanos could speak for themselves, rather than having an institution impose upon them. This later allowed the exhibit to become more than just an art show, but rather an "extension of the ongoing efforts of the Chicano Movement." To ensure that Chicano voices were heard, a large committee of over 40 Chicano scholars, artists and administrators was recruited and broken up into various committees to oversee, select, design and create regional task forces. An "ongoing process of negotiation" was status quo for the project.{{Cite book|title = Complicated Business: Chicanos, Museums and Corporate Sponsorship|last = Gonzales|first = Joseph Jason|publisher = Temple University|year = 2008}}

The exhibit opened at Wight Art Gallery on September 9, 1990.{{Cite book|title = Encyclopedia of Latino Popular Culture, Volume 1|last = Gamez|first = Jose|publisher = Greenwood|date = 30 October 2004|isbn = 9780313332104|pages = 104–105|editor-last = Candelaria|editor-first = Cordelia C.|editor-link=Cordelia Candelaria |editor-last2 = Aldama|editor-first2 = Arturo J.|editor-last3 = Garcia|editor-first3 = Peter J.}}

As the show toured, there were some unique ways to promote local interest. At the El Paso Museum of Art, there was a lowrider parade that initiated the opening of the show and in addition, there were several works in CARA that contained images of lowriders.{{Cite book|title = Lowriders in Chicano Culture: From Low to Slow to Show|last = Tatum|first = Charles M.|publisher = Greenwood|date = 22 July 2011|isbn = 9780313381492|pages = 108–109|url = https://books.google.com/books?id=Q_tB9qbFCigC&dq=cara+exhibit+chicano+art&pg=PA108|access-date = 31 March 2015}} The Albuquerque Museum of Art staged a lowrider car show on the opening day of the exhibit.

CARA closed after its last engagement, which was at the Museum of Art in San Antonio, Texas.

Reception

There were large crowds at the exhibition in every city.{{Cite book|title = Who We Be: The Colonization of America|last = Chang|first = Jeff|publisher = St. Martin's Press|date = 21 October 2014|isbn = 9780312571290|pages = 129–130|url = https://books.google.com/books?id=Wl1nBAAAQBAJ&dq=+cara+chicano&pg=PA130}}

CARA challenged many art critics to look beyond what had been considered "mainstream" or "traditional" fine art.{{Cite news|url = https://www.latimes.com/archives/la-xpm-1990-09-24-ca-802-story.html|title = Chicano Art: It's Time for a New Aesthetic . . .|last = Acosta-Colon|first = Maria|date = 24 September 1990|work = Los Angeles Times|access-date = 27 March 2015|archive-url = https://web.archive.org/web/20150904005346/http://articles.latimes.com/1990-09-24/entertainment/ca-802_1_chicano-art|archive-date = 2015-09-04|url-status = live}} The exhibition was successful in bringing new ideas to viewers.{{Cite news|url = https://www.nytimes.com/1993/04/04/arts/art-view-chicano-art-a-lustier-breed-of-political-protest.html|title = Chicano Art: A Lustier Breed of Political Protest|last = Cotter|first = Holland|date = 4 April 1993|work = The New York Times|access-date = 28 March 2015|archive-url = https://web.archive.org/web/20150526082836/http://www.nytimes.com/1993/04/04/arts/art-view-chicano-art-a-lustier-breed-of-political-protest.html|archive-date = 2015-05-26|url-status = live}} It also challenged viewers and critics alike to see value in the intersection of politics and art. The art was considered "complex" and "contentious" and also having a "vibrant agenda." Some critics, in fact, conflated the politics of the art to such a degree that they felt the show was not about the art at all, but instead only about the message.{{Cite journal|url = http://icaadocs.mfah.org/icaadocs/THEARCHIVE/FullRecord/tabid/88/doc/847058/language/en-US/Default.aspx|title = From CARA to CACA: The Multiple Anatomies of Chicano/a Art at the Turn of the New Century|last = Gaspar de Alba|first = Alicia|date = 2001|journal = Aztlán|access-date = 31 March 2015|volume = 26|issue = 1|pages = 205–231|archive-url = https://web.archive.org/web/20150402005929/http://icaadocs.mfah.org/icaadocs/THEARCHIVE/FullRecord/tabid/88/doc/847058/language/en-US/Default.aspx|archive-date = 2015-04-02|url-status = live}} Other critics seemed uncomfortable with the art they were viewing.

For Chicanos/as themselves, it was exciting and moving to see their own lives, culture, ideas and struggles reflected in art.{{Cite book|url = https://books.google.com/books?id=hhyHW-3WtMQC&dq=cara+exhibit+chicano+art&pg=PA101|title = Chicana/o Identity in a Changing U.S. Society: QuiŽn Soy? QuiŽnes Somos? - Aõ_da Hurtado, Patricia Gurin - Google Books|last1 = Hurtado|first1 = Aida|publisher = University of Arizona Press|date = 1 May 2004|isbn = 9780816522057|last2 = Gurin|first2 = Patricia|access-date = 2015-03-31|archive-url = https://web.archive.org/web/20160521045307/https://books.google.com/books?id=hhyHW-3WtMQC&lpg=PA101&dq=cara%20exhibit%20chicano%20art&pg=PA101#v=onepage&q=cara%20exhibit%20chicano%20art&f=false|archive-date = 2016-05-21|url-status = live}} Many viewers and critics expressed the feeling that "at long last Chicanos could see themselves reflected and represented...a process of both aesthetic and political validation." The exhibition inspired many young Latino people to look into their own genealogy and appreciate their Chicano roots.{{Cite book|title = Contemporary Chican@ Art: Color and Culture for a New America|last = Vargas|first = George|publisher = University of Texas Press|date = 15 February 2010|isbn = 9780292721166|pages = 78}} CARA taught many non-Latino Americans about Chicano life, history, ideology and culture. CARA also helped those in the U.S. learn to appreciate the nuanced differences between "Hispanic" and "Chicano."

Legacy

CARA challenged the mainstream art world to view Chicano art as an important art movement that stands on equal footing with other well-recognized art movements. CARA also established Chicano art as something other than a "subculture"{{Cite web|url = http://www.serendipitylit.com/index.php/clients/item/chicano-art-inside-outside-the-master-s-house-cultural-politics-and-the-cara-exhibition|title = Chicano Art Inside/Outside the Master's House: Cultural Politics and the Cara Exhibition|access-date = 31 March 2015|website = Serendipity Literary Agency|archive-url = https://web.archive.org/web/20150201013545/http://www.serendipitylit.com/index.php/clients/item/chicano-art-inside-outside-the-master-s-house-cultural-politics-and-the-cara-exhibition|archive-date = 2015-02-01|url-status = live}} though it was often feared that the Chicano art was displayed in an academic way that would "erode" or destroy the true meaning of the art.{{Cite web|url = http://latino.si.edu/researchandmuseums/presentations/prado_papers.html|title = Arriving at the River's Edge: Curatorial Trends in L.A|date = 2003|access-date = 31 March 2015|website = Smithsonian Center for Latino Initiatives|publisher = Smithsonian Institution|last1 = Alejandra|first1 = Reina|last2 = Saldivar|first2 = Prado|archive-url = https://web.archive.org/web/20150223154448/http://latino.si.edu/researchandmuseums/presentations/prado_papers.html|archive-date = 2015-02-23|url-status = live}} Nevertheless, the subject matter of CARA stretched the boundaries of what traditionally could or should be shown in a museum setting. The exhibition also succeeded at "imploding myths and stereotypes that said Chicanos had no image-making lineage, or that their work could not compete aesthetically, technically, or conceptually on a national and international level."{{Cite book|title = The Secularization of the Chicano Visual Idiom: Diversifying the Iconography|last = Lou|first = Richard A.|publisher = Plaza de la Raza|year = 2000|location = Los Angeles, California|pages = 17|url = http://icaadocs.mfah.org/icaadocs/THEARCHIVE/FullRecord/tabid/88/doc/846235/language/en-US/Default.aspx|access-date = 31 March 2015|archive-url = https://web.archive.org/web/20150401165313/http://icaadocs.mfah.org/icaadocs/THEARCHIVE/FullRecord/tabid/88/doc/846235/language/en-US/Default.aspx|archive-date = 2015-04-01|url-status = live}}

CARA was the first exhibition of its type and set a standard for curatorial practices surrounding Chicano art and exhibits. CARA would later be used as a "template" for creating other exhibits with Chicano artists.

CARA also helped raise awareness that museums should learn to have a "close working relationship with the communities they represent," which means that there should be more diversity in the artwork shown by these organizations. In addition to working with the community to represent more diversity, it also exposed other issues, such as corporate sponsorship in museums.{{Cite book|title = Chicana Art|last = Perez|first = Laura E.|publisher = Duke University Press Books|date = 9 August 2007|isbn = 9780822338680|url = https://books.google.com/books?id=JnUw4cOb2lEC&dq=cara+&pg=PA304}} CARA also clearly demonstrated that there was still a critical bias towards men being represented more often than women in museums and in the arts.

Artists who showed work with CARA, like Gaspar Enriquez, found that more of their art started selling as it gained more exposure in different markets.{{Cite news|url = http://newspapertree.com/articles/2014/01/15/profile-gaspar-enriquez|title = Profile: Gaspar Enriquez|last = Baron|first = Richard|date = 15 January 2014|work = Newspaper Tree|access-date = 31 March 2015|url-status = dead|archive-url = https://web.archive.org/web/20150414022007/http://newspapertree.com/articles/2014/01/15/profile-gaspar-enriquez|archive-date = 14 April 2015}}{{Cite news|url = http://www.elpasoinc.com/lifestyle/local_features/article_e5c350a2-812a-11e3-901d-0019bb30f31a.html|title = Art of 'El Barrio'|last = Zanetell|first = Myrna|date = 19 January 2014|work = El Paso Inc.|access-date = 31 March 2015}} Not all artists found themselves in the same situation, but for many, doors were opened in mainstream markets, collections, lecture circuits and museums.

CARA also filled a void that was left when many Chicano art collectives began to break down.{{Cite book|title = Texas Handbook Online|last1 = Acosta|first1 = Teresa Palomo|publisher = Texas State Historical Association|date = 12 June 2010|chapter-url = https://tshaonline.org/handbook/online/articles/kjc04|access-date = 6 April 2015|last2 = Curlee|first2 = Kendall|chapter = Chicano Art Networks|archive-url = https://web.archive.org/web/20150413034638/https://tshaonline.org/handbook/online/articles/kjc04|archive-date = 2015-04-13|url-status = live}}

Artists and venues

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Quotes

"We made valiant efforts to things through--every one of these sessions became a philosophical discussion...In fact, I feel like I've been through an incredible course in Chicanismo."—Judith Baca

"I loved this exhibit. It's like looking in a mirror. It's really seeing the heart of my people."—Anonymous

Read More

{{Cite book|title = Chicano Art: Resistance and Affirmation|publisher = Wight Art Gallery|year = 1991|isbn = 0943739152|location = Los Angeles, California|pages = 26–32|editor-last = Castillo|editor-first = Richard Griswold Del|editor-last2 = McKenna|editor-first2 = Teresa|editor-last3 = Yarbro-Bejarano|editor-first3 = Yvonne}}

References

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{{Chicano and Mexican American topics}}

Category:Art exhibitions in the United States

Category:Chicano art

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