chicano studies

I. Proposal Topic:
A. My proposal will examine the influence and ability of Chicano/a Artwork to represent the plight of Chicano/a within the United States.

II. Primary Sources:
a) Davalos, K. M. (2008). Yolanda M. López. UCLA Chicano Studies Research Center Press.

I. This source discusses the impact of Yolanda Lopez’s artwork upon the Chicano/a culture within the United States. Lopez uses her artwork to showcase the social and political injustices against Chicano/a. This is important to my topic because it showcases the ability of artwork to serve as a public medium for political action. Additionally, I can utilize this source to demonstrate the impact artwork can have upon a specific culture and society.

b) Gómez-Peña, G., & Mendieta, E. (2001). A Latino philosopher interviews a Chicano performance artist. Nepantla: Views from south, 2(3), 539-554.

I. This source is unique because it includes an interview between an identified Latino and Chicano. Furthermore, this piece discusses the impact that artwork can have upon the mass public. This source is important to my proposal because it includes primary quotes from an artist who strives to change the nation. Thus, I will use this source within my proposal to provide additional insight and information on how artwork can inspire and prompt a change within society.

c) Villarreal, J. A., & Antonio, J. (1979). Chicano Literature: Art and Politics from the Perspective of the Artist. The Identification and Analysis of Chicano Literature, 161-167.

I. This text includes numerous primary source statements and discussions with various Chicano/a artists. They discuss the motivation behind their artwork as well as any changes they have noticed within their community following the publication of such artwork. This is important to my proposal because it discusses the real life changes that have been noticed as a result of published artwork. Thus, I can use this in my proposal to provide background notes on how society has changed since the creation of public artwork.

d) Kim, S., & Quezada, P. (1995). Chicano graffiti and murals: The neighborhood art of Peter Quezada. University Press of Mississippi.

I. This source includes important examples and interviews with Peter Quezada, who is a Chicano artist. This includes information relating to why he started painting murals across his neighborhood. This is important to my proposal because it raises questions regarding the placement and purpose of specific murals. I will use this in my paper to provide an example of a male artist who wanted to make a political change through his artwork across a neighborhood.

e) Goldman, S. M. (1984). A public voice: fifteen years of chicano posters. Art Journal, 44(1), 50-57.

I. This source includes primary testaments to the voice of Chicano/a artists who created graphic posters that were designed to spark a change within their community. This text is informational and important because it showcases such posters across the decades within the United States. I will use this information in my paper to demonstrate how artwork has changed over fifteen years in the history of Chicano/a artwork.
III. Secondary Sources:

a) Martinez, M. X. (2007). The art of social justice. Social Justice, 34(1 (107), 5-11.

I. This source discusses Ester Hernandez’s iconic piece, Sun Maid. This piece of artwork is a testament to the hard work and treatment of many Chicana women within the field of agriculture in the United States. It is useful to my topic because it demonstrates how a single piece of artwork can showcase the workplace injustices and inequalities that are taking place against Chicano/a in America. Furthermore, I can utilize this piece by using it as an example of how Chicana women are treated in the workplace.

b) Blake, D. J. (2009). Chicana Sexuality and Gender: Cultural Refiguring in Literature, Oral History, and Art. Duke University Press.

I. This source examines the influence and impact of various pieces of Chicano/a artwork within the United States. It is important because it also discusses how this artwork can create feelings of activism and political inspiration within the Chicano culture. I can use this within my own proposal because of the wide variety of artwork it examines as well as the manner in which it correlates artwork with political inspiration and/or activism.

c) Marin, C. (2002). Chicano visions: American painters on the verge. Little, Brown and Company.

I. This source discusses the impact that many Chicano/a artists have upon the culture and society of the United States as a whole. This is especially evident when discussing the impact of Margaret Garcia, who painted numerous inspirational pieces that questioned the treatment of Chicano/a. Consequently, this source is important to my topic because it presents additional information and examples of the ability of artwork to inspire change within the Chicano/a community. Thus, I will use this piece to advocate for such change.

d) Goldman, S., & Ybarra-Frausto, T. (1965). The political and social contexts of Chicano art. Chicano art: Resistance and affirmation, 1985, 83-95.

I. This source is important to my proposal because it includes background and contextual information on Chicano/a artwork. This will provide insight on the reasoning behind the creation of such artwork, especially examples that are inspired by political injustices. This is important to my topic because it explores the specific reasoning behind artwork’s creation. Therefore, I will use this within my paper to include information on why various artists attempt to channel their voice through their produced artwork.

e) Cockcroft, E. S. (1993). Signs from the heart: California Chicano murals. UNM Press.

I. This source provides information of various Chicano/a artwork throughout California. This text is important because it provides information that is tailored to our community. I believe this will be especially useful within my own proposal because it includes information that is about the places I grew up around. I want to use this as an example to the existence of
Chicano/a artwork throughout the United States, even in our own
backyards.

IV. Bibliography:

Blake, D. J. (2009). Chicana Sexuality and Gender: Cultural Refiguring in Literature, Oral History, and Art. Duke University Press.

Cockcroft, E. S. (1993). Signs from the heart: California Chicano murals. UNM Press.

Davalos, K. M. (2008). Yolanda M. López. UCLA Chicano Studies Research Center Press.

Goldman, S. M. (1984). A public voice: fifteen years of chicano posters. Art Journal, 44(1), 50-57.

Goldman, S., & Ybarra-Frausto, T. (1965). The political and social contexts of Chicano art. Chicano art: Resistance and affirmation, 1985, 83-95.

Gómez-Peña, G., & Mendieta, E. (2001). A Latino philosopher interviews a Chicano performance artist. Nepantla: Views from south, 2(3), 539-554.

Kim, S., & Quezada, P. (1995). Chicano graffiti and murals: The neighborhood art of Peter Quezada. University Press of Mississippi.

Marin, C. (2002). Chicano visions: American painters on the verge. Little, Brown and Company.

Martinez, M. X. (2007). The art of social justice. Social Justice, 34(1 (107), 5-11.

Villarreal, J. A., & Antonio, J. (1979). Chicano Literature: Art and Politics from the Perspective of the Artist. The Identification and Analysis of Chicano Literature, 161-167.

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