These chapters are hard for me because they are so different from the heart memory I have of New Mexico. After graduate school I moved to Northern New Mexico, Eagle Nest, a small village of 75 folks between three mountain peaks, and half way between Angel Fire and Red River. This is the place I learned to meditate (TM), to laugh (after being widowed) and to two step. I did beautiful art and learned how to be a member of a community. I do not remember hated for anything other than the rude Texan on vacation. Now this part of NM has more of a mining history and is home to some large ranches with lots of young cowboys. Which is a Junction story. It was and is the only place I feel I can be ME, in what ever form I want to take. It may have been my youth or the times ( late 1970's) but it remains one of my watermarks. Yet, I do believe my experience is romantic and very limited. Check out the previews for a movie about coming out in Northern NM.. Baby Lu, the movie. The father/mountain man is a friend from that time I hold dear.
So the NM that is represented in these writings is strange to me. I do not know how any group can claim a state. Especially a state with a large First Nations population.
As for censorship my experience was in Dallas. I had done a sculpture featuring three little clay figures on handmade stands(one bricks, one corn stalks, and one rocks) about aging and yoga. A cleaning lady had her son with her and decided the work was too suggestive for him and his 13 years. Now these clay figures were anything but suggestive or sexy, just 8" high lumpy bumpy pinched clay. Nude but not real. Now I had painted some hair on the women's private parts but even that was crude. City Hall (location of the show) decided to draped the work. Now I was back in Lubbock but a friend went to show after calling the newspaper and added fig leaves to the figures. What a hoot. It made the news and I ended up with two phone interviews , one in NYC and one in LA. The City backed down,not because I was so talented or so bright in my interviews but because Dallas was up for a huge bond and this made them look like hicks. They decided on the side of money.
Enough of my stories.
So as we continue to read, be open and question yourselves and your views.
I will start with a story about Willem de Kooning. A stowaway on a dutch ship, he is one of American Art’s most famous illegal immigrant artists. He drew women—lots of women-- on bicycles, with scribbles, in bold colors. He struggled with the ideal and archetypal female. One critic commenting on de Kooning’s work said that his women—appeared to be violent, dramatic as if scratched on a bathroom wall. De Kooning said they forgot to say that his women were funny.
ReplyDeleteI enjoyed reading that Emma Perez, believes much the same thing about images of the woman (the Virgin) discussed. She says of the women in her family who were devoutly Catholic, “They do not question why La Virgen appears as a tattoo on the back of a Chicana with a “punk” haircut in Ester Hernandez’ serigraph La Offrenda which is on view in my hallway. Nor do they remark on the amorous embrace of La Sirena and La Virgen de Guadalupe in Alma Lopez’ digital collage on my bathroom wall….While these women are exceedingly Catholic, these same women have a sense of humor.” Pg 151
I wonder if humor is the first thing to go for the zealot.
Next In De Alba’s article, I found her discussion of the “second coming” insightful. She discusses the appearance of the Apparition to the Protestor-Pilgrims. These Protestor Pilgrims created something that wasn’t visible to the naked eye—instead of a digital collage, they saw a tart or a whole, the museum became a chapel where one should experience veneration. Pg 215.
I enjoyed Alma Lopez’ research. She seemed to be painstakingly searching for meaning and symbols for her experiences. As she researched, she developed multiple interpretation of the Virgen. I especially enjoyed her discussion about the Virgen iconography as a codex and the layers of meaning in the symbols.
The discussion of the celestial events on the legendary days of the virgin’s appearance to Juan Diego is fascinating.
In keeping an open mind, I ended up with some questions:
Questions:
How is it possible for a women to be stabbed to death between her two sleeping children? Who would do such a thing and how could the children recover.
“My mother was orphaned when she was stabbed to death while sleeping between my mother and my Aunt Julia.” P 266
One of my favorite quotes:
“Most important defense is a knowledge of themselves and their bodies.” Lopez
Alma Lopez's symbolism is brilliant. I completely appreciate how she takes imagery from her context (Chicana, Catholic, woman, lesbian) and weaves it into her images. I can appreciate the care she takes in creating meaning within her works.
DeleteWhile continuing with this weeks reading, I could not help but wonder that if women had a greater role within the Catholic Church how this controversy might be different. In my opinion, women need to have a greater role in church hierarchy. I also believe their presence would prevent a lot of issues the church is facing today especially regarding the sexual abuse of children.
ReplyDeletePeriodically I would stop during my readings to look at the picture that has caused so many issues. Through this reflection process, I thought of the Virgin Mary and her own personal story of the rejection she had to face during her own life time. For example, being pregnant out of wed lock and when she was about to give birth there was no room for her except the stable. I really feel she is a powerful symbol for women who are suffering and feel rejected. By getting to know Alma Lopez through these readings, I now can understand why she connected so strongly to the figure of “Our Lady” and why she felt so compelled to make a connection to her through her art.
I agree that within church structure women and men should be represented more equally. There is complementarianism and egalitarianism--generally more conservative Christian churches lean toward complementarianism while more liberal (although not liberal politcally, such as the case for Anglican or Episcopalian churches) lean toward egalitarianism. Much of the argument between the two centers in translation of the Greek in scriptures such as 1 Timothy 2, 3 and other passages--or the context in which the translation is framed.
DeleteI agree with you Emily, my wife is the first lay Catholic chaplain in this area and it was a very challenging road. Today, the church is left with a lot less vocations (nuns and priests) which require more involvement from the laity. This is actually a great blessing because it allows women who were already very involved to take more important roles within the church. My wife feels the new Pope (Francis) is more open to this important change that can transform it for the better.
DeleteThis past week I had to teach on the German artist Otto Dix whose art work was taken by the Nazi regime. Some of his pieces were sold and a lot of it was burned and the rest was displayed in an exhibition called “Degenerate Art.” Otto was then forced by the Nazis to create only landscape paintings. This situation reveals to me the power of art and how the government interpreted this power as a threat. I connected this to Alma Lopez’s work and the powerful threat it had on some members in the community. On a different note, some of the stolen Otto Dix paintings have been recovered a few weeks ago in Germany and are now considered very valuable.
ReplyDeleteIsn't that story of the stolen art amazing! The collector and his son were very skillful to be jewish and in the nazi government--to talk the Monument boys into giving the cache back, to know not to use blue chipper auction houses because they would look for the provenance. AMAZING!
DeleteI was excited to have students talking to me/asking about the stolen art work. We deviated from the plan several times to discuss the found artworks.
DeleteLynn, I will definitely will be following this stole art story, also Lynn, I love what you wrote about Willem de Kooning, and about having a sense of humor. I am reminded by a quote from an amazing woman Erma Bombeck, “When humor goes, there goes civilization.” I think you are right about humor is the first thing to go for the zealot.
DeleteI apologize for the lateness of my post!! I spent the weekend in LA for a cousin's wedding--the reading kept me engaged during the flight--but upon my return all the time change/late nights/too early flight times took a toll on me and I went to bed instead of posting! I felt that these chapters covered so much material that required careful thought and respectful responses...too difficult for a jet-lagged space cadet like me.
ReplyDeleteOur Lady Chap 7, 8, 9
Chap 7:
Much of what writer Emma Perez discusses in chapter seven centers on much of the structuring of the Catholic church. I have little experience with the Catholic church; much of my experience centers on my time spent seriously dating a Catholic man. I hashed through my theological convictions as I considered life as a Catholic believer (as the only choice if we married was for me to convert to his faith). I saw serious theological issues with status of salvation for individual believers and the placement of women in the church/home/society.
Perez speaks of "good" and "bad" women as it pertains to a patriarchal society, or specifically in the patriarchal religious system of Catholicism. I really see this theme played out in multiple cultures stretching back into our human history, not as a defense of this valuation, but as a broadening of our view of the issue. Later in chapter eight wardrobe/dress enter the discussion; our culture looks in shock at burkas and other cultures' dress code for women, such as super conservative Christian groups such as the Pentecostal or Quiverfull faith, but we forget the strict laws governing women during the Roman Empire. Augustus passed the Lex Iulia (named for his daughter, Julia) to create strict laws governing women's dress, specifically the stola. We think Roman wear and a "toga" pops into our head. Yet, if you google "stola" you'll encounter images that harken a reference to today's burkas. Much of government/society's and religions' concern towards a moral, balanced citystate center on the behavior of women.
Within the Catholic religion, especially in diocese with conservative leadership, women have difficulty having autonomy with their own lives and their own faith. I do not want to come across as anti-Catholic, but I see so much more freedom in my own faith--while not perfect--I can live assured that my salvation does not lie in whether I marry or not, whether I birth children or not, and whether I live a perfect, sinless (mortal/venial) life.
Chap 8
ReplyDeleteI took copious notes in this chapter. "There is no pure, authentic, original history. There are only stories--many stories." Was it Kant who theorized there is no truth? Or Derrida? Regardless, much of this chapter centers on the idea that there is no truth, only one's perception of truth--how one defines it that day in that moment, in that contextual framework. Much of the "renarrativizing" of The Virgin comes out of this post-modern flexibility or "malleability" of the multilayered Virgin; Our Lady had a meaning in a certain context (Catholic proselytizing of native Mexican/South American people groups) and now we can shift the figure/person/meaning of Our Lady to better suit our current context. I personally struggle with The Virgin of Guadalupe because she honestly has no place in the narrative of Christianity. She is an added persona not based in the Scriptures or in the establishment of Christianity. The author even states that "both colonial-era reports by Catholic missionaries and contemporary studies of "Indianized" Catholicism reveal that elements of indigenous philosophy and practice survive within the Virgin of Guadalupe's modern day cults." Catholicizing the natives was imposing a monotheistic (also idol-centric) religious system onto a polytheistic, animistic society. That pieces of another spirituality and faith system were brought into the Catholic church, the outcome is not Christianity, but a subtle shift away from the core of the true gospel message--Christ as redeemer, solely and without substitute (priest/Virgin Mary/Virgin Lupe/iconography/works based salvation).
In response to Sandra Cisneros writing from her "panocha" empowered in her sexuality and energy--how is this different from men writing centered from their phallus? We deride men for writing from their sexuality (unless perhaps it isn't a heterosexual male perspective), and then embrace women for being empowered through their panocha. Perhaps it is okay if all people can express their perspective? The religion of Catholicism might separate sexuality from spirituality, but the church system I grew up in recognizes that our whole spiritual self encompasses the entirety of our being--mind, body (sexuality), and soul. While we are taught to refrain from sexual expression outside of the context of marriage, we aren't told to refuse or live in denial of our sexuality. Much of what a person gets from their church's hidden curriculum on sexuality depends much on the attitude of the teachers (pastors) and the climate of the people within the church body.
Serna also discusses the Virgin as object--of salvation?--"by depicting the erotic embrace of of Lupe and Sirena in the form of acheiropoietos--an "image not made by human hands"--Lopez posits it as a divine apparition." Again, purely a Catholic tradition of icon worship. A Christianity based on the early church (throughout Israel, Greece, and modern day Turkey) and later Protestant tradition rejects the worship of idols/icons. Objects have nothing to do with salvation; may I posit that icon or acheiropoietus have more to do with bamboozling believers than with sanctification of believers.
The best point that Serna makes in the chapter lies at the end: "Why does the secular museum need to uphold a particular religious vision?" Exactly. The end. No more discussion. Were the museum an extension of the Catholic church this conversation would be very different. But regardless of what all might say, the museum is governed by its board and administrators. (Now, huge side note: we've already established that a board member in this case had huge issue with Alma Lopez's Our Lady and we also recognize that when public funds support a private museum, the public does have a right to at the minimum express an opinion).
Emily, I can see where icons in some religions are not as significant as La Virgen De Guadalupe is to the Mexican-American culture. The purpose of using an icon such as LVDG in artistic expression, as many artists in this book did, is to reclaim it as their own. One of the arguments throughout this book is, who owns such an image? Jose Villegas was claiming that the church owns the image. The image of LVDG on the Tilma of Juan Diego is the acheiropoietos at the center of the controversy of Our Lady. This particular religious image is claimed to not be made by human hands, which in itself is a controversy as well, but none of the writers in this book delve into that mystery or seem to question it, perhaps that is not the point. I read a book "The Wonder of Guadalupe" by Francis Johnston, and I remember reading about how the word Guadalupe was not even in the dialect of Juan Diego (Cuhautoatzin), the Nahuatl indian. Centuries later Professor Mariano Jacabo Rojas concluded that the word Guadalupe is phonetically similar to Coatlaxopeuh, which means : she who breaks, stamps, or crushes the serpent. "Te" meant stone. "She who crushes the stone serpent." The serpent was a symbol of the feminine because it was of earth and water, while the eagle symbolized the masculine. The serpent in Aztec culture did not symbolize "Satan", but rather the sacred feminine spirituality that Chicana feminists seek to reconnect to. De Guadalupe (she who crushes the stone serpent) seen as an apparition in Tepeyac where the temple for Tonantzin (earth mother goddess) previously existed is very symbolic of the new world stomping out the pre-columbian gods and goddesses. Let us not forget that on the Mexican flag is the emblem of an eagle perched on a cactus having a snake for lunch, which is very symbolic of the patriarchal, nationalist ideologies that exist in people pitted against artwork such as Our Lady and artists such as Alma Lopez and De La Rosa.
DeleteI found Esquibel’s writings over “Our Lady” very interesting. The section where he dissected La Virgen on not being a lesbian really stuck out to me. He mentioned how he did not see Lopez’s Guadalupe as a lesbian, but was interpreted as one. Maybe the masterful gaze gave off a vibe to the religious leaders in New Mexico? With this, I am baffled that these men or men in general find an independent, confident woman, who looks at you unafraid would be considered a lesbian? I find this to be very misogynist. Why can’t a woman be proud? Why can’t she be strong? I enjoy Salina’s description of Guadalupe as “a heroine, of a strong woman”, “a symbol of struggle”. I feel that Guadalupe not only presents this, but especially Lopez’s version! I know I said this earlier when we first started the book, and I will say it again, I do not find Lopez’s work offensive or anti-Catholic, anti-virgin, or anti-Guadalupe. Lopez’s work is empowering for the Our Lady. However, as much as I applaud Lopez for expressing herself and giving her interpretation of the virgin, I keep questioning on that surely she was not that surprise when people reacted and got offended to her work? I find that when I am making art, while I do not worry too much on what others think about my work, I do put into consideration, or stop to think of how people would see/interpret my work? Granted I do not create anything remotely controversial, however if/when I create something that many might find offensive, I would be aware that it might offend others. Maybe I’m just too cautious of a person? Maybe she did know, but didn’t think it would result in such a mass explosion of hate mail, protestors, and continue on for many years after? I digress back in the writings to where Esquibel was talking about Salina’s artistic modeling and how she was healing from being raped, and was self conscious of her body. I find that going through something that horrible, (something I could never imagine), and feeling emotionally, physically, and sexually abused and destroyed, then “reclaiming her body” with a strong “embodiment” through posing as the Guadalupe, is such an amazing, outcome. I also really enjoyed the statement he makes at how “the artwork is an affirmation of loving one’s own female body as beautiful and sacred.” I find this to be the best interpretation of the art.
ReplyDeleteJason, I love how you argue, "why can't a woman be proud? Why can't she be strong?" Exactly, why would that offend anyone, and where would they have read "lesbian" in the artwork? I kind of even cringe when Alma Lopez is described as a "Lesbian" artist. I forgot where I read it, but it was in the earlier chapters. Why can't she just be called an artist? I had no idea that butterflies were symbolic of two female genitalia, and the butterfly depicted was not a Monarch but a Viceroy butterfly. That was totally new to me and I would have never picked up on that.
DeleteGreat insights and reflections, one and all. This book is doing exactly what I had hoped for...becoming the foundation for new dialogs. Thank you .
ReplyDelete"To some the Virgin of Guadalupe is a childhood memory; to others she is an indigenous warrior "goddess." Within Chicana feminist and decolonial imaginaries, Guadalupe is an empowering "sex goddess" as well as a compassionate, forgiving mother." This quote really stuck with me. I think for me Lopez is trying to find herself through her artwork like the majority of us are. I really like that she does not have a problem with using such a strong symbol of faith to express who she is and try to find herself through through the Virgin. Things that I question... Isn't our faith suppose to aide in becoming who we are?? If we create something controversial shouldn't the church and the people stand behind their people and support them no matter what? doesn't the bible tell us not to judge??? How does this all apply when she is creating artwork, how can she worry about this when creating pieces about her? When creating my artwork, especially while I am at school I do worry about the content and making sure that if I do have something questionable that my students do not see it and that I keep it private until I feel that it is ok for my students to view the piece. So many have no idea what I go through and I just simply tell them the artwork I have been working on is for school and then they are ok and walk away, others will question a little more, I find if they relate to it. Just because we do not agree with a piece of art doesn't mean we should not support them in what they do. We may not have a clue in what they may be going through and working out through their artwork. I like that it states that Lopez does so many different versions of the Virgin. Good for her and I keep looking at her pieces pondering what the fuss was really about and why so many were so offended by it. Its beautiful! And I think it only makes these women stronger! It is extremely hard to get over things such as sexual assaults and to be strong enough to pose for artwork and take a stand... gives hope to those that are going through the same thing. HOPE! STRENGTH! It shows they are SURVIVORS not victims! I could go on and on, but will end with one of my favorite lyrics... with gentle hands and the heart of a fighter... I'm a SURVIVOR!
ReplyDeleteChapter 7
ReplyDeleteEmma Perez dichotomies helped me put a lot of the discourses in perspective: masculine/feminine, sacred/ordinary, sexual/spiritual, human/divine, and La Virgen/ La Malinche. I like the idea of deconstructing and offering new icons, which is what much of Chicana feminist art has accomplished.
Chapter 8
I like how Crisitna Serna ties Alma’s Our Lady with the Work of De La Rosa. The marriage of church and state that is prevalent in Mexico is very interesting, which makes for the Catholic patriarchal Mexican and Chicano ideologies. I found it fascinated how Serna describes the differences of the dominant political parties in Mexico and their characteristics. Even more astounding was how those dynamics emerged in Santa Fe with the controversy over Our Lady.
Chapter 9
I remember the Vanity 6 video Catriona Rueda Esquibel discusses when I was little kid, and I wanted to emulate them. I had no idea at the time that their outfits were sexual, I just thought the ladies were gorgeous. As far as pop culture, and I am by far no expert, it seems that exhibiting sexuality was a form of rebellion. In contrast to openly sexual examples in pop culture, if we look at the movie Footloose (1984), in which teenagers rebel against a ban on dancing in a very conservative town, we see again the rebellion against patriarchal ideologies. Pleasure, and sexuality as portrayed in the Vanity 6 video, or in Sheila E’s lyrics, etc. could easily be viewed as inappropriate “whore”-like behavior, with regard to the virgin/whore dichotomy. I see the openness about sexual pleasure as a claim on repressed sexuality in society. The recurring theme is women, seeking sensual pleasure, learning to love their bodies, and embracing their sexuality identity. As far as Prince and his gender ambiguity, I thought it was best put in perspective by Dave Chappelle’s segment titled True Hollywood Stories: Prince, where Prince is described as a guy wearing a Zorro-like, figure skater outfit and a women’s blouse in high heels and with a poufy perm. His cross-dressing is a form of sexual expression, as well.
I like how Esquibel references Luz Calvo’s Art Comes For the Archbishop” and she highlights connections to Alma Lopez’ work that I hadn’t connected before. She points out the analogy of Archbishop Zumarraga not validating Juan Diego and Archbishop Sheehan not validating Alma Lopez. I hadn’t made that connection before. Zumarraga saw Juan Diego as a peasant and dismissed him several times. Sheehan refuses to validate Alma’s perspective on her artwork. Another connection Esquibel discussed was the excommunication of Los Hermanos by Archbishop Lamy, where again the bishop dismisses the “peasant”.
I absolutely love the ideas of Holy Bishop Nonnus on Saint Pelagia regarding his accompanying bishops – ...throw the misogynous veils of their eyes and accept the beauty of the sacredness of the feminine. (189)
I find it interesting that Coyolxauhqui is a significant icon to mujerista activism and theory and represents “la fuerza feminine” and the rebellious. I have my reservations about the theories of “mujerista”, for the fact that they are centered on theology. I personally feel that for Chicana feminists, decolonization means detaching from the ideologies of the colonized religion that they grasp and whose icons they seek to reclaim.
For me the hard lesson has always been the balance between my moral compass and my passion as a woman. I was raised in the conservative environment of military bases and small minded schools. Finding truth as in basic facts was almost impossible before the internet so much of what I learned about being a woman was formed by the male gaze. It took years and continues to take effort to trust myself and what I know is ME, the woman, the artist, the educator, the lover, the friend, the spiritual seeker, the sister, the wife, the widow, the first daughter and all else that makes me what I am. I know if I had not questioned (as in your powerful questions Andrea) my past I would not have today nor would I be able to work in art. It has been my constant curiosity that leads my dreams.
ReplyDeleteReligion is tough. History and "the other side of story" or "the rest of the story" helps us wade through the waters of both calm and turbulent.
The readings on these chapters reinforces my concern for the public protests that continued with Alma Lopez's Our Lady of Controversy. I too believe (like you Future), that I don't know how it is possible that one or any group can claim a state. Had I been in New Mexico at the time, I would need to leave (at least temporarily) to clear my mind of all the absurdity. I can understand controversy, but the behavior of the Catholic faith was reprehensible. The references to colonial ideology (and the root of many problems I believe) and the interpreted ideals of La Virgen de Guadalupe are, and have always been, dangerous territory in my evaluation. Factual misinterpretations and blatantly erroneous ideals of La Virgen de Guadalupe are damning. It seems that society must find a means to vindicate or sacrifice the demons from this artistic expression of La Virgen.
ReplyDeleteThe imagery from La Virgen de Guadalupe is many splendored. It seems that although the catholic women have a sense of humor, that line is quickly crossed to anger, resentment and spite when the ideology of character, imagery and preconceived rationale of La Virgen is questioned. As I understand, La Virgen is eternally "Virginal" and must continue her place as sexless, nurturing and always eternally forgiving. Perhaps because the "forgiving" ideal is so pronounced, that could explain why there remains so much hatred, condemnation and rift between Aztlan and Chicano cultures. Jose Villegas had his own self-centered bias to condemn primarily from colonial ideals. Pedro Sedeno took the opportunity (of the controversy) to promote himself and his ideals. To me, that only tangled issues further, as did the Euro-American man who wrote the letter entitled "Dear Birdbrain". To further complicate rationale, Ernesto Cienfuegos self-appoints himself "ideologue" of the Chicano nation with his La Voz de Aztlan biased newsletter.
Alma Lopez was bold when she presented a new "postapocalyptic" vision with her reference of lesbians and queer women in a loving, nurturing manner. The Virgen's body, in her words "violated by misogyny" is vindicated through a vision of de-colonialization and divinity. La Virgen has multiple connotations, meanings and has deeply rooted histories to catholicism and the catholic faith. In Mexican and Chicana/o contexts, La Virgen evokes a multiplicity of meanings. I laughed (though no disrespect) at Lopez's image of La Virgen de Guadalupe Defendiendo los Derechos de los Xicanos.
There exists a love affair of church and state in New Mexico and the Santa Fe community. Outraged religious and conservative groups screamed "sacrilege", "blasphemy", and "obscenity". Lara Perez has perhaps a rational, just perspective: "a feminist attempt to discover, uncover and recover the power of the Mother of God or her image" (Our Lady 2011 p.187). In sum, I continue to wrestle with the rationale of condemnation and the confrontational environment that was the condemnation of La Virgen de Guadalupe. I am not from catholic background, but I certainly tolerate and respect other religious views through their histories.