Chicano

In a brief fashion, this paper covers the history of the Chicano Art movement from its origins in the 1960s up to some of its more recent expressions. The essay also includes a succinct history of the Chicano socio-political movement, since the author maintains that the Chicano art is interrelated and interdependent to it. On the artistic movement’s history, it is noted the significant influence of the Mexican Muralist Movement and other Mexican artists, like Frida Kahlo. It is also remarked the fundamental importance of the indigenous Mexican Pre-Columbian art forms and myths. On the description of the movement, the paper states that the essence of the Chicano Art movement is to provide an artistic outlet to the Chicanos social demands, helping the Mexican-American community to find and define its own identity as an American ethnic group, with the purpose of empowering it. As the American society becomes more diverse, the Chicano art movement moves forward, progressively assimilating to the American cultural mainstream.

"Visualizing Art History: Experimental Animation and Its Mentor, Jules Engel" by Janeann Dill, phd, mfa

A dictionary begins when it no longer gives the meaning of words, but their tasks.
--- Georges Bataille

It is most often the case when I refer to my work as experimental animation that I am met with the question, what is experimental animation? I am instantly reminded of a story about Louis Armstrong in conversation with Johnny Carson who asked Armstrong, “What is jazz?” Louis Armstrong enthusiastically responded, “Well if you don’t know what it is, I sure as hell can’t tell you!”

In some ways, Louis Armstrong’s response might be said to be universal for questions having to do with art, in that any attempt to offer definition tends to further confuse, bind, constrict and/or be irrelevant, rather than to clarify meaning. As a scholar and as an artist, I am most interested in the unanswerable. As I understand it, to ask the unanswerable is the beginning of an event … if you will, an event of language, timing and gesture, experimentation and conceptualizing. The more important consideration in a “what is ____?” question is not the answer, but the asking.. How is it we know so little about the art form?

Is the monster apart from, or a part of the Self? If the monster is the Other, not the Self, then is that Other intimately intertwined with the Self? Is the monster that which the Self denies, represses, or sheds in order to be? The monster has been with us in art and literature for centuries and we cannot seem to erase it from our thinking. More than ever, in fact, we are bombarded with images of monsters, with humanity s constant re-creation of the monster. One can also ask: Is it the monster masking as humanity or humanity masking as the monster? Is the monster intrinsically inhuman or is it depicted as such because humanity seeks to censor ignore/dismiss that which is different? The chapters in this collection examine the imagined monster as humanity s (re)-creations of monsters and the monstrous beyond the traditional physical representations in the attempt to scrutinize if the true monster is actually within us all and not limited to any outward physical monstrous representation.

This study surveyed political values, attitudes, and behavior of Mexicans, Puerto Ricans, and Cubans in the United States. This report describes U.S. Latinos as foreign-born, native (U.S.)-born, non-U.S. citizens, and U.S. citizens. The study used a household, in-person survey, in English or Spanish (interviewee's choice), of 1,546 Mexicans, 589 Puerto Ricans, 682 Cubans, and 598 non-Latinos. The survey was conducted between August 1989 and April 1990. Findings indicate that: (1) the U.S.-born have significantly higher levels of education, income, and job status than the foreign-born; (2) only the foreign -brrn speak mostly Spanish; (3) it is difficult to place any subgroup at any one point on the political spectrum; (4) ideologically, U.S. Latinos identify themselves as moderates or conservatives, although they support increased spending on many domestic issues; (5) Mexicans, Puerto Ricans, and Cubans express strong commitment to and identification with their own national-origi...