Victorian El Defensor De La Mission

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They are well dressed in bright colored clothes and because there are shadows on their skin, it highlights their muscle and shows how strong they are. In addition, there is also the background, where it has six different panels that depicts Chicano’s history and would remind one of images of the Conquest, class struggle, the Civil Rights movement of the 1950s, the farmworker’s movement led by César Chavéz and more. This shows the transition of how the contemporary Chicano family is today and the yellow background with rays coming out helps divide the different panels. In class, we also talked about how there has been a strong stereotype against the Chicano culture where people deemed them as always being violent, criminals and a minority in …show more content…

In Victorian El Defensor de la Mission, the robot is made up of small townhomes to create a gigantic robot to fight against gentrification, which is similar to how the family is holding each other to create a powerful image to fight against stereotypes. In addition, there is also a female figure on top of the robot, that can represent a chicano female who is riding on top of this powerful robot and it shows that Chicano has power and breaks away from the stereotype that Chicanos are powerless. This shows that inside the mural, the working class and chicanos are depicted as having the most power. In an article by José Manuel Valenzuela Arce, Arce talks about how Chicano art is about the “collision between U.S society and Mexican society” and how Chicanos are “redefining their place in U.S. society”. Therefore, most Chicano artist turned to public space to show their work and it can also be a battleground to “wage political war”. Therefore, La Familia breaks away from the stereotype that Chicanos are powerless and Victorian El Defensor de la Mission reject the idea that it is the techworkers that have power, but it is rather the Chicanos and working class that has …show more content…

In an article by C. Ondine Chavoya, Chavoya talks about how there was a group named Asco that consisted of four Chicano kids in the 1970s by the name of Gronk, Patssi, Gamboa, Herrón who tested the limits of art. Most of their work was influenced by United States, Mexican, rock and roll, pop culture and took place on Whittier Boulevard where Chicanos were not able to walk down the boulevard without being stop by the police. Therefore, they situate most of their works “in a space that Chicanos didn’t have access to,” which was public space. One artwork that illustrate this was LACMA/Project Pie in Del/Face which happened when one of the members ask the curator of LACMA why there was an “absence of Chicano art in the museum”. The curator’s response was that Chicanos didn’t make “fine art” and “they only make folk art or they were in gangs.” Therefore, Asco gave LACMA their first piece of Chicano art. They signed “their names to all the county museum entrances in gang-style fashion, claiming the institution and all its contents” as their “own conceptual piece”. Although one of them forgot to sign Pattsi’s name, they had her stand next to it to take a photo with it as their piece. Overall, it is through their performances that they bring attention to “violence, police brutality, exploitation and

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