Virgil Ortiz's Cochiti Art

Ruth M. Guajardo is a professional painter, working full-time as Arts Program Manager for Centro Cultural Aztlan. She holds a BFA from Texas State University in San Marcos, Texas. The implementation of Centro Aztlan’s programs is the primary responsibility of Ms. Guajardo her extensive knowledge and expertise allows her to carry out responsibilities for the effective presentation of the multidisciplinary programs presented and produced by Centro Cultural Aztlan. She is an established artist herself and prior to her employment with us she was director of El Sol Studio for eight consecutive years.

One of the most well known figures of the twentieth century pottery world is Maria Martinez. Maria Martinez is a Pueblo Indian part of the San Ildefondo tribe. Pueblo pottery from the American Southwest holds a unique place in ceramic art forms of American art. It is full of age-old tradition and culture handed down form family members and potters of the past. The old Pueblo ways of creating it still hold true today and have not been changed or influenced like so many other styles in modern times.

Virgil Ortiz states that when he walked up to the Charles Bridge, it reminded him of the photo from the “Clay People Book” and knew that he needed to recreate it someday. The vertigo series infuses culture awareness and historical research into the piece. As his ancestors once used clay to comment on their daily lives and experiences, Ortiz does the same but adds a different element by enlisting his family members to contribute their works to re-create the scene inspired by Ben Wittick. They got to pick one of the figurines from the original photo and re-create it in their own way. It was mainly to show the public the latest version of the tradition of ceramic figurines.

Judith Francisca Baca was born on September 20, 1946 in Los Angeles, California to Valentino Marcel and Ortensia Baca. Her father, Valentino, was not in the picture, so she was raised by her mother, grandmother, and two aunts. Coming from a Spanish speaking family, Baca struggled in school, but maybe her struggling was a good thing. Due to her problems with speaking, Baca’s teacher made her sit at her desk and paint, which sparked her interest in art. She attended California State University at Northridge to obtain her bachelor’s degree. Then she went back to her high school, Bishop Alemany High School, to teach. That is where she got together “ethnically diverse” students and painted a mural. Her teaching job did not last long. Her next job was in Los Angeles in a traveling program for artists to teach at different schools. But one even that sparked her art life was exploring the Mexican muralist tradition. She was inspired by different books she read about them and traveled to Mexico to take classes in mural techniques and materials. When she returned to Los Angeles, she began her Citywide Project. She supervised and

Diego’s love of art started when he was just 4 years old. His parents always bought him colored pencils and pens, which he would draw all over the walls and furniture. By the time he was 9, he had made his decision that he wanted to be a professional artist. His mother enrolled him into art classes at the

The portrayal and the representation of the Chicano Art Movements are entrenched by the Mexican-American artist who institute artistic personalities and identities in the United States. The plenteous amount of the artist is massively influenced by the immense Chicano Movement (El Movimiento) which, was established in the 1960’s. The influence of Chicano Art was due to the Mexican- Revolution philosophy, art of Pre-Columbia and indubitably European techniques of painting, cultural, social, political issues. The movement took a stand to fight against stereotypes of Mexican- Americans conducive and to resist typical social norms. The movement to concentrate on awareness of collective history, equal opportunity, grants and social mobility. Chicanos have used the movement in pursuit of expressing their cultural values. Ever since it first appeared in America the art of Chicanos has matured to illustrate common struggle and social issues in conjunction with uniting the youth of the Chicano people to their culture and history. Chicano Art is not only Mexican- American artwork; it further emphasizes and accentuates the histories of the Chicano people in a superb and sublime way of American art.

There are different approaches used when discussing the survival of indigenous visual cultures. Each essay provided for analysis interprets the conquest of the Americas differently and connects it to Colonial Mexico artistic production at various degrees. Each essay also advocates for its own term that can be used to represent the process of Spanish and Indigenous art forms coming together in a complex cultural context. Kubler advocates for the term, folk art to describe colonial art because it is art production that is devoid of its past meaning. His views on conquest explicitly claim that the Spanish conquest was successful due to Spanish superiority over Indigenous cultures. However problematic his claims are, he is able to dissect the forms used by the Spanish conquest to gain control over artistic production. Mestizo, is the term used by Neumeyer to describe the mixing of two art forms that can only be apparent when Indigenous people reached a high aesthetic culture during the conquest. He also promotes the idea that Colonial art was continuously developing. However, his views of Indigenous art is that it is unable to compete with European modes of art. Finally, Dean and Leibsohn use to the term hybrid as a production and enactment that challenges norms. “Hybridity and Its Discontents” is the most liberal of the three readings. It uses the term hybrid as a way to critique the cultural context in which it was able to be produced; Spanish conquest. It also, critiques

Every artist's dream is to create something that leaves a lasting impression. The Last Conquistador follows the story of a sculptor who does exactly that. John Houser spent nearly a decade painstakingly crafted a 34-foot tall equestrian statue featuring the infamous Spanish conquistador Juan de Oñate y Salazar. Following in the footsteps of his father who assisted in the carving of Mount Rushmore, Houser's fantasy of leaving his mark in one of the largest bronze equestrian statues in the world finally became a reality (Valadez). However, what an artist attempts to express and what message is truly received may not be one and the same. While the Hispanic elite of El Paso praised (and funded) the magnificent piece, the Acoma were horrified by the towering symbol of oppression and genocide looming overhead. This film not only provides a window into the conflict and controversy surrounding Houser's work, but also showcases several aspects of Texas political culture and highlights the dismissive attitude toward Native American culture that is still prevalent today.

Giorgio Vasari is known for being the first Art Historian. He wrote the seminal work The Lives of the Artists. But why did he write it? Of course every book is written for a purpose but I don’t think Vasari was writing just to inform people of art and artists. At the beginning of the 14th Century the value of artists and their craft began to rise. They had been a member of the guild system along with other valued members of the medieval economic system certainly but suddenly wealthy people not just the clergy saw buying art and dedicating it to God as a way to pay for past sins and show their esteemed colleagues that they were actually doing something to ensure passage to heaven. This rise of humanism is continuing theme into the next two centuries when it reaches Vasari. If Art has reached its zenith in realism and can go no higher. How then can Vasari increase his worth and that of his fellow artists in the world’s estimation? Write a book detailing the lives of great artists and explain how they received their genius from God and made startling contributions to the many great religious and civic efforts of Italy and Florence in particular. This was going to help him increase his own power if he could connect his talent to the greatness of God and those who needed God’s Grace more than most; the rich and powerful.

Hispanic art, food, and entertainment all have a common theme; they are all fun, light-hearted, yet fulfilling and rich in cultural heritage. On one side, Mexican culture in particular loves to make fun of itself. There are many depictions in song and art of lazy Mexicans in large sombreros with thick mustaches eating burritos. On the other hand artists like Diego Rivera paint large murals depicting rich historical events like the revolution, in bold colors on controversial topics (This Old, n.d.).

Bright colors jumping at you asking for attention, images so real viewers can not tell the difference. These are the thoughts that came to my head as I gazed at two works of art by two Mexican artists at MoLAA museum of art . I visited two museums, Bowers Museum of cultural Art in the heart of Southern California and the Museum of Latin American Art in Long Beach for my report unfortunately I only liked the works in MoLAA and will talk about it through out my paper. I will talk about two Mexican artists Rafael Cauduro and David Alfaro Siqueros that caught my eye, and made me want to learn more of them and their approach to art. Siqueiros caught my eye and interest because according to his biography “no

Artworks have played an indelible work to the lives of humanity. The creative nature in Artists is a complex matter to define. The uncertainties in the intrinsic nature in art lay difficult aspects that can only be answered by values, themes and skills depicted in an artist artwork. Apart from playing the intricate psychological effect on humans, the artworks have been used as a tool of expression that has been revered and uniquely preserved for future generation. Among some of the most revered modern forms of artwork has included Chicano Art that had a core relationship to Las Carpas, Indigenismo, rascuachismo and other forms of performance art.

He is a contemporary artist best known for subverting the meaning behind religious symbolism by juxtaposing them against popular icons (Chagoya, Enrique). He juxtaposes these types of symbols to address the ongoing cultural clashes between the United States, Latin America, and the world in general. The inclusion of pop icons is meant to seem shallow so that analysis of the piece in question will open to deeper conversations. His most recent pieces of art address issues on immigration and the economic recession.

The selection from Leon Battista Alberti’s On painting is mainly divided into 5 paragraphs numbered 25 through 29. Just as the title suggests, the text deals with the art of painting and its virtues. It talks about the benefits painting offers to the artist and why they are valuable, as well as showing the importance a work of art gives to the object being painted. While referring to many examples in history, Alberti also compares painting to the other “crafts” and explains why it is more noble, as well as more enjoyable and self-satisfactory.

Francesco used a style that I really enjoy, it is called pittura di tocco and it is a style known for its small dotting in the art work and it's small but clean brush strokes. It's a style that not many artist can lock down it is very very advanced. He started in venice italy when he was passed down a shop from his father who was deceased and he worked alongside his brother to make and sell hand made paintings. His paintings are beautiful painting like the venetian capriccio which is a landscape painting of the molo towards santa Maria. He was born october 1712 and when his father passed away in the year 1716 and that's when he had the shop passed down to him, he was only 4 when the shop was handed down to him and his brother. He worked with