Chicano poster movement final

AESTHETIC ALTERNATIVE THE LOS ANGELES CHICANO POSTER COLLECTION BY AM E LIA PA RKS

from the collection of the Center for the Study of Political Graphics

THIS PROJECT WAS SUPPORTED BY:

CONTENTS  Art Collectives and Artists  Icons and Symbols  Community Events  Political Issues

Kill Rudy Martinez, Self Help Graphics Silkscreen, 1992 Los Angeles, CA

Background image from Chicano Power by Sergio Hernandez, Silkscreen

ART COLLECTIVES AND ARTISTS In the 1960s there was a resurgence in poster making around the United States. While Los Angeles may best be known for it's murals, posters were also embraced for their impact and accessibility. Posters were inexpensive to make, the craft easy to learn, and one design could produce many items.

The poster allowed artists to disseminate their art and ideas to a wide audience.

The Chicano community in Los Angeles contributed significantly to the development of the poster as an art form. Within the Los Angeles, Chicano/Latino community people began to set up community centers to teach poster making and share knowledge, ideology, and resources. These art centers and the artists using them, began to use art as a way to educate the community, promote events, communicate ideas, and to express Chicano identity. “I propose an art that is not private property; an art that will make other artists aware of their real duty as human beings. I propose an art that is not only an inspiration and an education , but also an art form that is aggressive and hostile to present bourgeois standards� Notes on an Aesthetic Alternative, Carlos Almaraz 1973

Free! Art Classes Méchicano Art Center Silkscreen, circa 1970 East Los Angeles, CA The Méchicano Art Center was established in 1969 by a group of East LA Chicano artists. They started with an exhibition space in a west side arts corridor on La Cienega. The Méchicano Art Center hoped to raise the profile of Chicano art and introduce Chicano artists into the contemporary art world.

In 1971 they moved to East Los Angeles and re-made themselves into a community gallery and workshop. The Méchicano Art Center developed successful programs for silkscreen poster making, murals, artist networking, and touring exhibitions.

Viva La Raza Manuel Gomez Cruz, Méchicano Art Center Silkscreen, 1974 East Los Angeles, CA

Méchicano Art Center Exhibition of Photography Méchicano Art Center Offset, 1970 East Los Angeles, CA

Arte De La Chicana José Rodríguez, Méchicano Art Center Silkscreen, circa 1970 East Los Angeles, CA

The State Oracle Has Declared Leonard Castellanos, Méchicano Art Center Silkscreen, 1975 East Los Angeles, CA

Designed for a Méchicano Art Center fundraiser. On verso: “Come And Allow Yourself To Be Sensually Titillated By The Gastronomic Delicacies. Come And Mingle With Some Of The Weirdest And Most Beautiful People In The World. Let Your Time & Space Merge With This ‘Fantastic Cosmic Noche’ Méchicano Invites You To Attend…”

La Virgen de Gentrification Lalo Alcaraz, Self Help Graphics Silkscreen, 2008 Los Angeles, CA

In 1971 a radical Catholic nun, Sister Karen Boccalero, and a group of Chicano artists founded Self Help Graphics, an art center dedicated to teaching "barrio youth about the value and ideals unique to Mexican heritage and culture." Through outreach programs, workshops, and a screen print atelier program, Self Help Graphics made printmaking and other forms of art accessible and inclusive. The atelier program was particularly successful, helping to raise the profile of Chicano artists.

Self Help Graphics is one of the few art centers from the 1970s that is still operating as a community art center.

Land Liberty and Art Kay Brown, Self Help Graphics Silkscreen, 2008 Los Angeles, CA

Self Portrait Barbara Carrasco, Self Help Graphics and Art Silkscreen, 1984 Los Angeles, CA Created as a commentary on racial bias in the 1984 Los Angeles Olympics.

(opposite page) No Missile Envy Stephen Grace, Alfredo de Batuc, Self Help Graphics Silkscreen, 1984 Los Angeles, CA

Jornaleros En La Lucha Libre (Laborers in Wresting) Jose Roberto Barrera, Self Help Graphics and Art Silkscreen, circa 2010 Los Angeles, CA

(opposite page)

Hermanos del Fuego (Brothers of Fire)

Leo Limรณn, Self Help Graphics Silkscreen, 1987 Los Angeles, CA

White Men Can't Run The System Lalo Alcaraz, Self-Help Graphics Silkscreen, 1992 Los Angeles, CA

After Nakazawa Shizu Saldamando, Self Help Graphics Silkscreen, 2006 Los Angeles, CA

Artist statement: This print is about Chicanos recruitment in the military and the story of two soldiers who took a stand and refused to go back to war.

I used the main image as a backdrop showing the mother character from the comic book "Barefoot Gen" in which Keiji Nakazawa chronicles the struggle his family went through during the bombing of Hiroshima in WWII. I hope to show who the war really effects; families, civilians, and the poor who are actively recruited to give their lives.

Dia De Los Muertos Richard Duardo, Hecho en Aztlan Silkscreen and pen, 1978 Los Angeles, CA

Richard Duardo was a pivotal figure in the Chicano art community and best known for his posters of pop icons and the East L.A. punk scene. He also founded several art studios and print shops. The most recent, Modern Multiples is still operating today.

Los Four: Almaraz / de la Rocha / Lujan / Romero Gilbert Magu Luján (Graffiti), Los Angeles County Museum of Art Offset, 1974 Los Angeles, CA After several successful exhibitions in the Los Angeles area, the group Los Four gained widespread recognition when LACMA mounted a major exhibition of the artists’ work titled Los Four: Almaraz, de la Rocha, Lujan, Romero (Feb. 26–Apr. 7, 1974). LACMA was the first mainstream museum to recognize the importance of Chicano Art as a unique school of American art.

Image taken from Solidaridad con el pueblo de Guatemala by Mark Vallen

ICONS AND SYMBOLS Art belonging to the Chicano scene often pulls from a set of historic and cultural icons and symbols. The tradition of using these symbols is rooted in the formation of the Chicano Power Movement of the 1970s, and their struggle against racism and for equal rights. Chicano artists often used culturally significant icons such as the Virgin de Guadalupe, Emiliano Zapata, Pancho Villa, and Mayan and Aztec designs to celebrate their heritage. More current symbols have become part of the Chicano lexicon such as ChĂŠ Guevara, Cesar Chavez, graffiti, and Selena. These icons are used in a wide variety of ways; an expression of pride in Chicano history, cultural reclamation, commentary on current issues, and statements of irony or humor.

ChĂŠ Lalo Alcaraz, Self Help Graphics Silkscreen, 1997 Los Angeles, CA Image from a photograph by Alberto Korda

Viva Villa Manuel Cruz, Méchicano Art Center Silkscreen, 1977 East Los Angeles, CA

Emiliano con Suecos (Emiliano with Clogs) Alfredo de Batuc, Self Help Graphics Lithograph, 1994 Los Angeles, CA

Rifa Leonard Castellanos, Armando Cabrera, MĂŠchicano Art Center Silkscreen, circa 1972 East Los Angeles, CA

Chicano Film Festival Méchicano Art Center Silkscreen, Crayon, and Spray Paint, circa 1970 East Los Angeles,

Changing Perspectives in Chicano Research Judith E. Hernandez Silkscreen, 1978 Claremont, CA

Our Lady Alma Lopez Offset, 1999 Los Angeles, CA

Untitled George Quintero, Méchicano Art Center (based on a José Posada image) Silkscreen, 1972 East Los Angeles, CA

(opposite page)

Las Cuatas (The Twins) Alfredo de Batuc Silkscreen, 1984 East Los Angeles, CA

Image taken from New World Order by Mark Vallen

COMMUNITY EVENTS Many of the posters in the Chicano Poster Collection were created to promote events within the Chicano community such as Dia de los Muertos, cultural festivals, theatre, and rallies. Often these events and posters blur the lines between politics and the arts.

Teatro Urbano Leo Limรณn Silkscreen, 1979 Los Angeles, CA This play is about the Chicano Moratorium and the death of Ruben Salazar

Barrio Film Festival MĂŠchicano Art Center; U.C.L.A. Chicano Studies Center Silkscreen, circa 1970 Los Angeles, CA

Rock for the Children of Chiapas!

Rolo Castillo, T.A.Z. Silkscreen, 1995 Los Angeles, CA

Big Top Locos Rolo Castillo, T.A.Z. Silkscreen, 1994 Los Angeles, CA

KCET Acción Chicano Malaquías Montoya Offset, 1972 Los Angeles, CA

Meet Your Latino Candidates Carlos Callejo Offset, circa 1981 Los Angeles, CA

DIA DE LOS MUERTOS Sixth Annual Day of the Dead Frank Romero Offset, 1989 Los Angeles, CA

El Dia De Los Muertos Carlos Almaraz, Méchicano Art Center Silkscreen, 1977 East Los Angeles, CA

Día de Los Muertos Self Help Graphics and Art Silkscreen, 1977 Los Angeles, CA

Dia De Los Muertos Leonard Castellanos, MĂŠchicano Art Center Silkscreen, 1976 East Los Angeles, CA

Background image from Chicano! Power!!! Artist Unknown

POLITICAL ISSUES The late 1960s saw a surge of political activity in the Mexican American community. Their struggle to define and gain recognition for their unique cultural heritage led to growing demands for better housing, work conditions, and education. The major part of the Chicano struggle was aimed at establishing political, social, and cultural control over their communities. Chicano artists saw themselves as activists and strongly believed that art should be made for the community and could bring about change within their community. The following posters are representative of only a small portion of the many political issues that Chicano artists in Los Angeles represented in their art.

CHICANO POWER AND SOLIDARITY

Brown Berets Pride, Peace, and Unity Creator Unknown Offset, circa 1970 Los Angles, CA

Mothers of East Los Angeles Justseeds; Stumptown Press Offset, 2004 Portland, Oregon

Hasta La Victoria Siempre (Ever Onward to Victory) Carlos Callejo Silkscreen, 1970 Los Angeles, CA

Unite Café Negro Y Blanco Carlos Almaraz; Méchicano Art Center Offset, 1973 East Los Angeles, CA

DRUGS AND VIOLENCE

Pushing Angel Dust is a Crime Carlos Callejo Silkscreen, circa 1980 Los Angeles, CA

To All Gangs Manuel Gomez Cruz; Méchicano Art Center Silkscreen, 1974 East Los Angeles, CA

Stop Drugs in the Barrio Leo Limón, Méchicano Art Center Silkscreen, circa 1977 East Los Angeles, CA

Blow Out! Chicano Student News Offset, 1968 Los Angeles, CA

In the 1960's the Chicano community started the fight for education reform. They wanted curriculum in public schools to improve and to reflect their cultural history and the importance of Mexican Americans to American history. They also fought for Chicano Studies programs to be developed in colleges and universities. While protests for reforms at the universities gained the most attention, in East L.A. students participated in Blow-Outs or walk outs at the high schools.

EDUCATION

Peoples College of Law MalaquĂ­as Montoya Offset, 1976 Los Angeles, CA

¿Conoce Usted Su Herencia Cultural?

Peace Press Offset, 1971 Los Angeles, CA

Chicano Studies Carlos Callejo Silkscreen, 1979 Los Angeles, CA

DEPORTATION AND IMMIGRATION Stop Racist Deportations Now! Carlos Callejo Silkscreen, Date Unknown Los Angeles, CA

ยกAlerta!

Yreina D. Cervรกntez Silkscreen, 1987 Los Angeles, CA

Immigration Reform Now! Shepard Fairey, Ernesto Yerena, Zack de la Rocha, Marco Amador Silkscreen, 2009 Los Angeles, CA

The New Order Ricardo Duffy, Self Help Graphics Silkscreen, 1996 Los Angeles, CA

THE LABOR MOVEMENT Vote Register MalaquĂ­as Montoya, Peace Press Offset, circa 1972 Los Angeles, CA

The creation of the United Farm Workers Party and La Raza Unida gave the Labor Movement a great deal of power and linked it to a greater struggle for Civil Rights. In the 1960s and early 1970s there was a sense of solidarity between workers of different races and farm and urban workers. This unified front gave the labor movement a great deal of power and the UFW became one of the central inspirations of the Chicano movement.

Promises Promises Manuel Cruz, MĂŠchicano Art Center Silkscreen, circa 1977 East Los Angeles, CA

Leave Gallo For The Rats Armando Cabrera, MĂŠchicano Art Center Silkscreen, 1973 Los Angeles, CA

From 1973-1979, the United Farm Workers of America (UFW), led by Cesar ChĂĄvez and Dolores Huerta, called for a boycott of E.& J. Gallo Winery, claiming the winery exploited its vineyard workers in Sonoma County, provided low wages, and no benefits. The boycott against Gallo was part of a campaign that included lettuce and field grapes. That boycott ended in 1978, after the UFW won a string of union elections held under California's then-new Agricultural Labor Relations Act. In 2005, the boycott was resumed when Gallo refused to provide health coverage for its workers. This boycott ended in 2011.

¡Orale! Cabrones No Tomen Gallo Andrew (Andy) Zermeño Offset, circa 1975 Los Angeles, CA

No Compre Lechuga Armando Cabrera, MĂŠchicano Art Center Silkscreen, circa 1970 East Los Angeles, CA

The Strike Is Not Over Carlos Callejo Silkscreen, circa 1970 Los Angeles, CA

Huelga!

Andrew (Andy) Zermeño United Farm Workers Organizing Committee Offset, 1966 Los Angeles, CA

Andy Zermeño met César Chávez while working with Saul Alinsky in the Community Service Organization (CSO). When Chávez left the CSO to start organizing farm workers, he asked Zermeño to come with him.

Zermeño worked with the United Farm Workers for 14 years. This is the first poster Zermeño did for Chávez. The United Farm Workers Organizing Committee (UFWOC) was founded in 1966.

Cesars Memory Paul Martinez, Self Help Graphics Silkscreen, Date Unknown East Los Angeles, CA

CHICANO MORATORIUM Pig Nixon Chicano Liberation Front Offset, circa 1970 Los Angeles, California

The first Chicano Moratorium was held in 1969 in East Los Angeles. The group was protesting the Vietnam war and for social justice within the Chicano community. Anti-Vietnam sentiments ran strong in the Chicano community because of the disproportionate number of Chicanos and Latinos killed in combat. It was estimated that for every white soldier killed three Chicano/Latino soldiers were killed.

Chicano Moratorium Ramses Noriega Silkscreen, 1970 Los Angeles, CA At the second Chicano Moratorium on August 29, 1970 the rally was broken up by police claiming the gathering was a violent and illegal assembly. Eyewitnesses at the march said it was a peaceful demonstration before the police arrived. As the Chicano poet Alurista said "The police called it a people's riot; the people called it a police riot." When it was over 150 people were arrested, buildings were burned, many people were injured, and four people were killed, including award-winning journalist RubÊn Salazar, news director of the local Spanish television station and columnist for the Los Angeles Times. Many continue to insist that Salazar was intentionally murdered because of his ongoing examination of racism and police abuse within the LAPD and LA County Sheriff’s Department. The tragedy of this event inspired memorial rallies for many years as well as plays and art pieces.

1980 National Chicano Moratorium March and Rally Carlos Callejo, National Chicano Moratorium Committee Offset, 1980 Los Angeles, CA

Paseo del Arte Plaza de la Raza (portrait is of Ruben Salazar) David Alfaro Siqueiros, Art Dealers Association of Southern California Offset, 1971 Los Angeles, CA

Untitled Armando Cabrera, MĂŠchicano Art Center Silkscreen, circa 1974 East Los Angeles, CA

Center for the Study of Political Graphics www.politicalgraphics.org

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