Ramirez identified as a conceptual artist, but unlike his peers, his work is “filled with a deep and palpable humanity.”
In the 1970s and ’80s, the Bags, Vaginal Davis, Nervous Gender, and Los Illegals used music and performance to express their dissent of racism and gender violence, imagining punk as a possible utopia.
UCLA’s Chicano Studies Research Center will conserve over 14,000 photographs and 125 audio recordings that make up the community’s spiritual patrimony.
LA Plaza de Cultura y Artes is live streaming a walkthrough of its special exhibition on Carlos Almaraz.
On August 20, Vroman’s Bookstore is hosting a conversation around the Chicano murals of the 1960s and ’70s, in advance of an exhibition at LA Plaza de Cultura y Artes.
LOS ANGELES — As I arrived recently at the Fowler Museum, I made a beeline toward the José Montoya exhibition, rushing past a beautifully situated cloister and a series of photographs recording the efforts of the Legalize LA labor activist campaign.
SAN ANTONIO, Texas — This summer, curator and art historian Ruben Cordova organized an unprecedented four-part exhibition of Casas’s work, illustrating the singularity of the Humanscapes series and asserting Casas’s critical role as a Chicano Pop artist.
Setting a time and a place for the birth of street or urban art is always a tricky question, as one could argue that its history is as old as humanity. Besides, it’s not that easy to find documentation about the development of street art and graffiti before the 1980s because of the way technology has transformed the way we study the past. Any episode before the advent of the internet or digital cameras isn’t as easy to track down, particularly in regards to underground scenes. Sure there’s the library but only academics, writers, and intellectuals tend to venture into the hallowed halls of learning to spend a whole day (or days) researching. Here are some precedents you may not know about.