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Relevant bibliographies by topics / Mexican Americans Mexican American artists

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Academic literature on the topic 'Mexican Americans Mexican American artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Mexican Americans Mexican American artists"

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Shandler, Jeffrey. "¿Dónde están los Judíos en la “Vida Americana?”: Art, Politics, and Identity on Exhibit." IMAGES 13, no. 1 (December 2, 2020): 144–56. http://dx.doi.org/10.1163/18718000-12340138.

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Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience, as either immigrants or their American-born children, these Jewish artists had been making politically charged artworks well before the Mexican muralists’ arrival in the United States. Considering the role of left-wing Jews in this period of art-making would complicate the curatorial thesis of Vida Americana. Moreover, the exhibition’s lack of attention to Jews in creating and promoting this body of work raises questions about how the present cultural politics of race may have informed the analysis of this chapter of art history.

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Bagley, Carl, and Ricardo Castro-Salazar. "Critical Arts–Based Research: A Performance of Provocation." Qualitative Inquiry 25, no. 9-10 (December 18, 2017): 945–55. http://dx.doi.org/10.1177/1077800417746425.

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The article from a critical race theory standpoint draws on data from life history interviews with undocumented Mexican-Americans, and live performance work with Mexican-American artists, to reflect on the methodological issues raised by qualitative research addressing the ways in which critical arts–based research affects research participants as artists, subjects, and audience. To date, arts-based research literature has tended to concentrate on theoretically framing a performance piece within a specific genre (and its acclaimed advantages) and subsequently describing in detail the nature of a performance, an approach which at times means the impact of a performance is accepted uncritically, if not taken for granted. Our intent in this article is to draw on postperformance interviews and correspondence with artists, subjects, and audience members to critically reflect on participant impact, an impact which in this article we are calling a performance of provocation.

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Kina, Laura. "Ancestral Cartography: Trans-Pacific Interchanges and Okinawan Indigeneity." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (July 6, 2020): 48–70. http://dx.doi.org/10.1163/23523085-00601004.

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This article examines how Okinawan Indigenous identity is influenced by “minor” Trans-Pacific interchanges between the Native Hawaiian sovereignty movement and Native American discourses on Indigeneity. Drawing from interviews with fellow Okinawan diaspora artist Denise Uyehara, the author explores their parallel responses as fourth generation Okinawan Americans to the recent resurgence of Okinawan Indigenous cultural history, practice, and identity. Uyehara’s collaboration with Native American artists in the performance Archipelago (2012) with Adam Cooper-Terán (Yaqui/Chicano), Ancestral Cartographic Rituals (2017) in collaboration with the late Payómkawichum, Ipi, and Mexican-American artist James Luna (1950–2018), and the immersive theatre project Shooting Columbus (2017) collaboration with The Fifth World Collective, is put into conversation with Kina’s painting series Sugar and Blue Hawai‘i (2010–2013) about Hawaiian sugar plantations and her trilingual illustrated children’s book Okinawan Princess: Da Legend of Hajichi Tattoos (Bess Press, 2019) written by Hawai‘i Creole author Lee A. Tonouchi.

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LEWTHWAITE, STEPHANIE. "Reworking the Spanish Colonial Paradigm: Mestizaje and Spirituality in Contemporary New Mexican Art." Journal of American Studies 47, no. 2 (April 17, 2013): 339–62. http://dx.doi.org/10.1017/s002187581300011x.

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During the early 1900s, Anglo-Americans in search of an indigenous modernism found inspiration in the Hispano and Native American arts of New Mexico. The elevation of Spanish colonial-style art through associations such as the Anglo-led Spanish Colonial Arts Society (SCAS, 1925) placed Hispano aesthetic production within the realm of tradition, as the product of geographic and cultural isolation rather than innovation. The revival of the SCAS in 1952 and Spanish Market in 1965 helped perpetuate the view of Hispanos either as “traditional” artists who replicate an “authentic” Spanish colonial style, or as “outsider” artists who defy categorization. Thus the Spanish colonial paradigm has endorsed a purist vision of Hispano art and identity that obscures the intercultural encounters shaping contemporary Hispano visual culture. This essay investigates a series of contemporary Hispano artists who challenge the Spanish colonial paradigm as it developed under Anglo patronage, principally through the realm of spiritually based artwork. I explore the satirical art of contemporary santero Luis Tapia; the colonial, baroque, indigenous and pop culture iconographies of painter Ray Martín Abeyta; and the “mixed-tech media” of Marion Martínez's circuit-board retablos. These artists blend Spanish colonial art with pre-Columbian mythology and pop culture, tradition with technology, and local with global imaginaries. In doing so, they present more empowering and expansive visions of Hispano art and identity – as declarations of cultural ownership and adaptation and as oppositional mestizo formations tied historically to wider Latino, Latin American and transnational worlds.

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Cummins, Tom. "On the Colonial Formation of Comparison: The Virgin of Chiquinquirá, The Virgin of Guadalupe and Cloth." Anales del Instituto de Investigaciones Estéticas 21, no. 74-75 (August 6, 1999): 51. http://dx.doi.org/10.22201/iie.18703062e.1999.74-75.1878.

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The studies of the history of Latin American art have used the comparative method while focusing on the period of evangelization and considering the European parameters of art as the models used by the first American artists. Cummins takes distance from this method which places the American artists at considerable disadvantage. Cummins studies the Colombian devotion of the Virgin of Chiquinquirá, one of the most studied and documented events in Hispanic America. He compares it to the creation and development of the Virgin of Guadalupe in Mexico. By studying the Mexican descriptions of the apparitions and the forging of the image, he discovers that it directly influenced the consolidation of the Colombian devotion. According to Cummins, the parallelisms between the Mexican and the Colombian myths reveal, among other issues, that both represent a national religious movement opposed to the Peninsular Spaniards and with an impact beyond the Creoles that embraced and adopted the image.

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Medina, Lara. "Introduction to Part II: Piety in Practice." Religion and the Arts 18, no. 1-2 (2014): 114–19. http://dx.doi.org/10.1163/15685292-01801007.

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‭An introduction to four distinct essays that examine diverse art forms and artists ranging from the early twentieth-century Mexican artist, Alfredo Ramos Martinez, and his revolutionary Mexican artistic sensibility; to Guadalupe devotees’ contemporary Mexican Catholic pilgrimage practices; to Southwest Hispano graveside spirituality; and a Latin American commitment to creating art as a tool for social healing and transformation. The essays intersect through their engaging analysis of very diverse forms of visual art and the deeply spiritual and socially conscious motivations of the respective artists, whether professionally trained or simply creators of their personal devotional art. Weaving in their own personal relationships to the art they are exploring, the authors offer diverse methodologies by which scholars and lay readers can better appreciate the human intent in the creation of art, and can witness the powerful role that art plays in the process of creating national identity and healing personal and social wounds.‬

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Rostagno, Irene. "Waldo Frank's Crusade for Latin American Literature." Americas 46, no. 1 (July 1989): 41–69. http://dx.doi.org/10.2307/1007393.

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Waldo Frank, who is now forgotten in Latin America, was once the most frequently read and admired North American author there. Though his work is largely neglected in the U.S., he was at one time the leading North American expert on Latin American writing. His name looms large in tracing the careers of Latin American writers in this country before 1940. Long before Franklin D. Roosevelt launched the Good Neighbor policy, Frank brought back to his countrymen news of Latin American culture.Frank went to South America when he was almost forty. The youthful dreams of Frank and his fellow pre-World War I writers and artists to make their country a fit place for cultural renaissance that would change society had waned with the onset of the twenties.1 But they had not completely vanished. Disgruntled by the climate of "normalcy" prevailing in America after World War I, he turned to Latin America. He started out in the Southwest. The remnants of Mexican culture he found in Arizona and New Mexico enticed him to venture further into the Hispanic world. In 1921 he traveled extensively in Spain and in 1929 spent six months exploring Latin America.

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McCaughan, Edward J. "“We Didn't Cross the Border, the Border Crossed Us”." Latin American and Latinx Visual Culture 2, no. 1 (January 1, 2020): 6–31. http://dx.doi.org/10.1525/lavc.2020.210003.

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Generations of artists have returned to the themes of the US-Mexico border and the impact of its inconsistent and often arbitrary enforcement on the lives of Mexican, Mexican American, and other Latinx communities. Visual art, music, and literature produced from the 1930s through the present offer rich data for contemplating shifting representations of the border and immigrants over time and for exploring factors that shape the context, content, and tone of such representations. Because many of these creative expressions emerged in the context of social movement activism, they also allow us to explore shifts in movement politics, including new ways of thinking about race, class, nation, gender, and sexuality in relationship to immigration. RESUMEN Generaciones de artistas han tratado el tema de la frontera entre Estados Unidos y México, así como el impacto en las comunidades mexicanas, mexicoamericanas y latinx del control irregular y a menudo arbitrario que las autoridades estadounidenses han ejercido sobre ella. Las artes visuales, la música y la literatura producidas desde la década de 1930 hasta la actualidad dan cuenta de los grandes cambios que ha habido durante estos años en las representaciones de la frontera y los inmigrantes, al tiempo que nos permiten explorar factores que condicionan el contexto, el contenido y el tono de tales representaciones. Puesto que muchas de estas obras surgieron en el contexto de diversos movimientos sociales, también permiten explorar cambios en la manera de hacer política a nivel popular, que incluyen nuevas formas de conceptualizar la raza, las clases sociales, la nación, el género y la sexualidad en relación con la inmigración. RESUMO Gerações de artistas voltaram a temas da fronteira EUA-México e o impacto de sua aplicação inconsistente e muitas vezes arbitrária na vida de comunidades mexicanas, mexicanas-americanas e latino-americanas. A arte visual, a música e a literatura produzidas a partir da década de 1930 até o presente oferecem dados valiosos para contemplar representações instáveis da fronteira e dos imigrantes ao longo do tempo e para explorar fatores que moldam o contexto, o conteúdo e o tom de tais representações. Como muitas dessas expressões criativas surgiram no contexto do ativismo em movimentos sociais, elas também nos permitem explorar mudanças políticas desses movimentos, incluindo novas maneiras de pensar sobre raça, classe, nação, gênero, e sexualidade em relação a imigração.

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Pelayo, Marisol Pérez. "Building communitas through symbolic performances: Mexican metal and the case of Cemican." Metal Music Studies 7, no. 1 (March 1, 2021): 139–48. http://dx.doi.org/10.1386/mms_00038_1.

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The Latin American metal collective represents a big portion of the metal artists and fandom in the American continent. México has a powerful metal scene and an equally strong devotee population. There is one particular band that represents a collective voice capable of depicting the nation in the present moment. Cemican is a band that fits into the genre called Aztec folk metal. Their albums have shown an affinity for Aztec and Mayan mythology, and their sound is a flux between the sordid loudness of thrash and death metal riffs and the vibrations of pre-Hispanic instruments. Their performances present re-enactments of rituals reminiscent of the capture of enemy warriors and the heart extractions performed on these. Local audiences get drawn in by the sound of metal but also by the recognition of themselves through the Mexican elements. Mexican audiences reach a certain level of community at the moment of witnessing their performance; this sense of community extends to aspects including feelings of exploration and belonging. Today, México stands as a fertile land for metal music, where elements from two colliding cultures and belief systems can be integrated, and the resulting artefact achieves an indomitable sound. Traditions like the Día de los Muertos (or ‘Day of the Dead’) and its closeness to the idea of death as comical, as well as the merging of polytheism and Christianity have given metal music in México its own communal identity. The search for authenticity in identity is also a fact that is present in Mexican metal music through symbolic practices and representations. The paradigm and dynamic change as the conglomeration of European-influenced sounds clash with the religious syncretism of the actual Mexican people.

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Nandorfy, Martha. "Border thinking and feminist solidarity in the fourth world." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 15-17 (February 26, 2011): 78. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.200415-17505.

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From a governmental perspective, multiculturalism tends to be reduced to a hollow celebration of superficial differences, a strategic policy to control and contain forms of difference that actually require a process of community awareness to open towards the other, rather than merely tolerate it. This essay examines the writing of several Mexican-Americans and Chicano authors through the approach of their thought border. Gloria Anzaldúa’s and Cherrie Moraga’s poems illuminate perspectives of such conceptual strength as Chandra Talpade Mohanty’s most theoretical and academic discourse. The poets, performative artists and academics I consider in this work build intercultural bridges as solidary and collective response against commercial, military and government powers who speak of erasing borders when it comes to the free flow of money and hand cheap labor, but that want close them to prohibit the free flow of ideas and creative beings who seek a better life. Desde una perspectiva gubernamental, el multiculturalismo tiende a reducirse a una hueca celebración de diferencias superficiales; una política estratégica para controlar y contener las formas de diferencia que en realidad requieren un proceso de conscientización comunitaria para abrirse hacia el otro, en vez de simplemente tolerarlo. Este ensayo examina la escritura de varios autores mexicano-americanos y chicanas/os a través del enfoque de su pensamiento fronterizo. Poemas de Gloria Anzaldúa y Cherríe Moraga iluminan perspectives con tanta fuerza conceptual como el discurso más teórico-académico de Chandra Talpade Mohanty. Tanto los poetas, los artistas performativos y los académicos que considero en este trabajo construyen puentes interculturales como respuesta colectiva y solidaria en contra de los poderes comerciales, militares, y gubernamentales que hablan de borrar las fronteras cuando se trata del libre flujo de dinero y mano de obra barata, pero que las quieren cerrar para prohibir el flujo libre de ideas creativas y seres que buscan una vida mejor.

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Dissertations / Theses on the topic "Mexican Americans Mexican American artists"

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Wegner, Kyle David. "Children of Aztlán : Mexican American popular culture and the post-Chicano aesthetic /." Connect to online resource, 2006. http://proquest.umi.com/pqdweb?did=1147180781&sid=1&Fmt=2&clientId=39334&RQT=309&VName=PQD.

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Berkowitz, Ellie Patricia. "Innovation through appropriation as an alternative to separatism : the use of commercial imagery by Chicano artists, 1960-1990 /." Thesis, Connect to online resource, 2006. http://www.lib.utexas.edu/etd/d/2006/berkowitze41540/berkowitze41540.pdf#page=3.

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Ardon, Marisol Francesca. "Formation and Reflection of Identity in U.S. Born Central American and Mexican Book Artists and Poets." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10113142.

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The difficulties to assimilate within any country when one’s parents are from another country has its own set of obstacles, especially within second-generation U.S. born Central Americans, or Mexicans. Second-generation children are constantly situated within positions to assimilate into U.S. culture, presented with stereotypical images of Latin-American figures like the Cholo, Spitfire or the unwanted illegal immigrant, have familial expectations to be a part of the “American Dream,” but still keep true to their ancestral roots. The struggle to completely assimilate into U.S. American society without losing one's cultural identity is a strong influence for the works of poets and book artists, and is reflected within the artist’s own internal conflicts in struggling to unite their cultural heredity with their new U.S. American culture. This paper will explore the work of LatinAmerican, U.S.-born book artists and poets and argue how their artwork has been impacted by their struggles to merge their cultural heritage and their present culture. This paper will also examine and highlight how social conflicts within both cultures augment further struggles within the formation of identity.

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Springs, Zandalee. "Mexican Masculinities: Migration and Experiences of Contemporary Mexican American Men." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/693.

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This thesis examined how four Male Mexican American post-undergraduate college students constructed their views on what it means “to be a man”. The method of oral histories not only for it’s power but also for its ability to offer a different perspective than that given by theory. Oral histories offer a rich perspective that has the power to challenge dominant narratives. The thesis was set up to reflect the way that the past informs the future. Through beginning with the history of U.S.-Mexico border relations via NAFTA, the Bracero Program, and the Border Patrol, one grasps the contentious relationship between the two countries and is introduced to the idea of pluarlities. Due to the relationship of labor to masculinity, theories on masculinity, machismo, and macho were discussed. The last two chapters centered on the oral histories of each man. “Origins,” the third chapter examined the “history” behind each orator. Finally chapter four, examined what masculinity, machismo, macho, and “being a man” is to each man. It is through this foregrounding in theory that one is able to better understand lived experiences. Through the combining of both theory and lived experiences, one is able to see the both the disconnect and overlap between the two. Although the responses ranged on what it “means to be a man” if you could essentialize it, there were are few themes that reappeared. “To be a Man” is about taking responsibility for your actions, being there for one’s family, and having honor. The range of responses only goes to highlight the complexities of even one term and each term could certainly warrant its own dissertation. Based on my brief research, there is still much work to be done on each area of focus.

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Aoki, Eric. "Ethnic label use in Biola, California : an ethnography of language and ethnicity in am American speech community /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/8196.

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Sardas, Isabela. "Cultural Differences in Pain Experience and Behavior among Mexican, Mexican American and Anglo American Headache Pain Sufferers." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279369/.

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Review of previous research on cultural differences in pain experience and/or pain behavior revealed that cultural affiliation affects pain perception and response. Unfortunately, the many inconsistent findings in the literature on cultural differences in pain experience and behavior have made interpretations and comparisons of results problematic. These inconsistent findings could be attributed to variations in acculturation level among cultural groups. The purpose of this study was to investigate cultural differences in pain experience (assessed by McGill Pain Questionnaire, the Box Scale, the Headache Pain Drawing, and the Headache Questionnaire) and pain behavior (measured by determining medication use and interference of daily functioning due to headaches) among Mexican (n = 43), Mexican American (n = 36), and Anglo American (n = 50) female chronic headache pain sufferers. The contribution of acculturation to differences in pain experience and behavior among cultural groups was measured by the Acculturation Rating Scale for Mexican Americans. The three cultural groups of women significantly differed on pain experience and pain behavior. Specifically, Mexican women experienced their headache pain more intensely, severely, and emotionally than Mexican American and Anglo American women. Furthermore, Mexican women were more willing to verbally express their pain than the other two groups. As for pain behavior, Mexican women took more medication and reported more severe inhibition of daily activities due to headaches than Mexican American and Anglo American women. Ethnic identity, ethnic pride, and language preference were factors in the acculturation process which contributed the most to women's chronic pain experience and behavior. The greatest variability occurred within the Mexican American group of women who perceived themselves as being more Mexican in attitudes and/or behaviors, but more similar to Anglo American in their pain experience and pain behavior. Results are explained using biocultural multidimensional pain theory, social learning theory, and acculturation theory.

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Erlacher, Marisol Solarte. "Effects of acculturation and ethnic identity level on ego identity development in second-generation Mexican American adolescents." Theological Research Exchange Network (TREN) Access this title online, 2004. http://www.tren.com.

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Capps, Randolph Christopher. "Entrepreneurship or subsistence? : self-employment in Mexican immigrant and Mexican American communities /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Hadwiger, Stephen C. "Managing diabetes according to Mexican American immigrants." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3036828.

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Saldana, Samantha Lee. "Comparing Cognitive Functioning in White Mexican/Mexican Americans and non-Hispanic White Americans with and without Type 2 Diabetes." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538649/.

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To better understand the impact of type 2 diabetes, the relationship between ethnicity, specifically Mexican/Mexican American ethnicity, and the disease must be further investigated. This study specifically examined the cognitive impact of type 2 diabetes. Data from the 2014 Health and Retirement Study was used to compare the cognitive functioning of non-Hispanic White (n = 10,658) and White Mexican/Mexican American (n = 847) individuals, age 50+ years, with and without type 2 diabetes. Serial 7's and immediate and delayed recall—hypothesized to be more negatively affected by type 2 diabetes and Mexican American status—was compared controlling for age, education, and depression. A multivariate analysis of covariance (MANCOVA) indicated significant main effects for race/ethnicity (F(3,11496) = 11.15, p < .001) and diabetes status (F(3,11496) = 3.15, p < .024), with Mexican Americans and those with diabetes having worse cognitive performance. There were significant effects for all covariates. A step-wise multiple regression indicated that education, age, depression, race/ethnicity and diabetes status accounted for a combined 28.4% of variance in a cognitive performance composite. Implications for assessment and treatment are discussed.

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Books on the topic "Mexican Americans Mexican American artists"

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Spilling the beans in Chicanolandia: Conversations with writers and artists. Austin: University of Texas Press, 2006.

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Benavidez, Max. Gronk. Los Angeles, CA: UCLA Chicano Studies Research Center, 2006.

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1961-, Noriega Chon A., and La Ponsie Steve 1957-, eds. Gronk. Los Angeles: UCLA Chicano Studies Research Center, 2007.

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K, Phillips Amy, ed. Triumph of our communities: Four decades of Mexican American art. Tempe, AZ: Bilingual Press/Editorial Bilingue, 2005.

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Rodríguez, Artemio. American dream: Ten years of prints, books & drawings = diez años de grabados, libros y dibujos. [Los Angeles, Calif.]: La Mano Press, 2006.

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Bulla, Clyde Robert. The Paint Brush Kid. New York: Random House, 1999.

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University of California, Los Angeles. Chicano Studies Research Center., ed. Yolanda M. López. Los Angeles: UCLA Chicano Studies Research Center Press, 2008.

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1939-, Zimmerman Marc, ed. Bringing Aztlan to Mexican Chicago: My life, my work, my art. Urbana and Chicago: University of Illinois Press, 2010.

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González, José Gamaliel. Bringing Aztlan to Mexican Chicago: My life, my work, my art. Urbana and Chicago: University of Illinois Press, 2010.

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Cantú, Norma E., 1947- author, ed. Entre Guadalupe y Malinche: Tejanas in literature and art. Austin: University of Texas Press, 2016.

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Book chapters on the topic "Mexican Americans Mexican American artists"

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Gilbert, M. Jean. "Mexican-Americans in California." In The American Experience with Alcohol, 255–77. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4899-0530-7_14.

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Garcia, Ginny. "Individual Level Results: Mexican Americans." In Mexican American and Immigrant Poverty in the United States, 63–76. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-0539-5_5.

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Gleizer, Daniela. "International Rescue of Academics, Intellectuals and Artists from Nazism During the Second World War: The Experience of Mexico." In European and Latin American Social Scientists as Refugees, Émigrés and Return‐Migrants, 181–203. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-99265-5_8.

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Telles, Edward, and Christina A. Sue. "Mexican American." In Durable Ethnicity, 40–77. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190221492.003.0002.

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This chapter examines Mexican Americans’ understandings of their ethnic identities, including the meaning and importance they attribute to them and the relevance of ethnicity to their lives. It reveals how their ethnic expressions generally involve a mix of symbolic and consequential ethnicity but how ethnicity often manifests differently than the symbolic or optional expressions of ethnicity experienced by many later-generation European Americans. Many of the respondents, to varying degrees, had experiences of lacking choice regarding their ethnicity, having to negotiate both Mexican and American communities, having a sense of linked fate to co-ethnics, and being stereotyped or discriminated against—all of which signal a consequential aspect to their ethnicities. The chapter also illustrates how the full Mexican American Study Project sample is distributed along a symbolic–consequential ethnicity continuum and how these distributions vary by factors such as urban area, gender, skin color, and generation.

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Telles, Edward, and Christina A. Sue. "Mexican American." In Durable Ethnicity, 78–104. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190221492.003.0003.

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This chapter assesses whether U.S.-born Mexican Americans feel American or a part of American society, even though they have been portrayed as threats to Americanism and have had their allegiance questioned. It also considers how their ethnic identity affects their sense of Americanness. For the respondents, they in no way perceive their ethnic and national identities as being mutually exclusive; to the contrary, they find these identities to be highly compatible and complementary. They define Americanness in terms of birthplace, political loyalty, and economic opportunities; they define Mexicanness in terms of culture, family, and ancestral background. Moreover, the vast majority of the respondents view national identity as their primary identity, something that is constant, natural, and unquestioned, whereas their ethnic identities vary in intensity, depending on the individual and the situation.

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"Mexican American Role Models, 1958–1968." In Mexican Americans with Moxie, 37–54. Nebraska, 2021. http://dx.doi.org/10.2307/j.ctv1s5nzs9.6.

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Herzog, Melanie Anne. "African American Artists and Mexico." In The Routledge Companion to African American Art History, 52–60. Routledge, 2019. http://dx.doi.org/10.4324/9781351045193-6.

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AdÈs, Dawn. "Surrealism and its Legacies in Latin America." In Proceedings of the British Academy Volume 167, 2009 Lectures. British Academy, 2011. http://dx.doi.org/10.5871/bacad/9780197264775.003.0012.

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This chapter presents the text of a lecture on the legacies of surrealism in Latin America given at the 2009 British Academy Lecture Series. This text discusses the tensions between surrealist internationalism and local cultural nationalisms, the contested relationship between surrealism and Magic Realism, and the enduring surrealist fascination with Pre-Columbian art and architecture. It analyzes the works of Mexican artists Frida Kahlo and Gunther Gerzso and works of contemporary Brazilian artist Cildo Meireles. It contents that art from Latin America has flourished in recent years without claiming surrealism as an exclusive source.

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Kanter, Deborah E. "Making Parishes Mexican." In Chicago Católico, 89–122. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252042973.003.0005.

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In the 1950s Mexicans moved into Chicago’s Pilsen neighborhood, which had thirteen mostly Slavic parishes. The ensuing ethnic succession challenges the expected narrative of “white flight.” Catholicism offered common ground: the desire to maintain parish structures explains European Americans’ willingness to live and worship with Mexican newcomers. Mexican Americans and immigrants faced slights in the pews and at parochial schools, but parishes transitioned from exclusively European American ethnic enclaves to shared congregations. After 1960 some priests added Spanish Masses and celebrated the Virgin of Guadalupe’s feast day, opening the way to Mexican religious devotion. Mexican laypeople, bolstered by Cursillo training, worked with those clergy who acknowledged their distinct needs and strengths. Together they made the parishes Mexican.

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Vásquez, Natalia Aguilar. "Permeable Bodies." In Latin American Culture and the Limits of the Human, 80–102. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401490.003.0004.

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This chapter proposes a comparative analysis of the artworks Vaporización (2002) and En el aire (2003) by Mexican artist Teresa Margolles, and Aliento (1995) and Lacrimarios (2000-2001) by Colombian artist Oscar Muñoz. The changeable and fading materiality of these artworks problematizes hierarchical anthropocentric relations between human and matter. I propose that, through the use of water, charcoal, and vapor as medium, the installations facilitate intrusive and morbid encounters between the dead victims of state-sponsored narco-violence and the living, the contemporary spectators of these artworks. The analysis recognizes the precariousness of life for victims in Colombia and Mexico, and proposes that, by reading these installations as a locus where the material and the spectral converge, it is possible to reimagine the role of the living in the remembrance and commemoration of the dead in the aftermath of violence.

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