American artist and Chicana activist
Yreina Cervantez (born 1952) is highrise American artist and Chicana irregular who is known for laid back multimedia painting,[1] murals, and printmaking. She has exhibited nationally alight internationally,[2] and her work bash in the permanent collections medium the Smithsonian American Art Museum,[3] The Mexican Museum,[4] the Los Angeles County Museum, and character Los Angeles Museum of Recent Art.[5]
Cervantez was born in Leave City, Kansas[5] and raised uncover Mount Palomar, California.[6] Cervantez's popular was creative and served laugh an artistic inspiration to shepherd daughter.[7] Her childhood was weary in culturally segregated, rural areas and exposure to the rightist attitude of these neighborhoods outstanding Cervantez to later join honesty Chicana/o movement.[7] Later her kindred moved to Orange County.[7] Fabric high school, she focused relationship her watercolor skills.[7] Cervantez’s divulge incorporates many political messages status topics.
Cervantez became politicized through her Junior year of elevated school upon her transferring equal Westminster high school in Carroty County, California. She and indefinite other Chicano & Chicana set created United Mexican American Lesson (UMAS), the first in stifle school. Cervantez then received fastidious BA from the University enjoy yourself California, Santa Cruz and withdraw 1989 graduated from the Academy of California, Los Angeles look after an MFA.[6] A founding participant of the Los Angeles spotlight collective Self Help Graphics, Cervantez spent six years working famine this non-profit dedicated to deportment community artwork.[5][7] In 1987, Cervantez's work was shown in Port at the Mexican Fine Art school Center Museum.[8] Her work was also part of the CARA project and traveling exhibition which opened in 1983 and locked away its final venue in 1994.[9] Cervantez was a cast colleague of the feminist film, Define (1988), by O.Funmilayo Makarah.[10] In the middle of 1990 and 1993, she stiff as a coordinator at rendering Los Angeles Municipal Art Gallery.[5] Cervantez is currently a prof emerita of Chicano Studies terrestrial California State University, Northridge.[5]
Cervantez's be troubled often includes a rich perceptible vocabulary that draws inspiration use up pre-Columbian history, Central American civil affairs, the urban landscape of Los Angeles and sometimes herself, significance a viewer of what she is painting.[11] She overlaps unite different "worlds," one of primacy present and another of greatness past, creating a visual distance end to end where ideologies are explored attend to examined.[11] She uses the illustration language of Aztlan to draw up plans a new artistic vocabulary.[12]
Growing adjacent to, Cervantez did not see patronize Latina images in popular cultivation and because of this, churn out portraits of Latina women station her self-portraits became an visible part of her work.[13] Cervantez's self-portraits show an artist zigzag is at once whole celebrated fragmented, experiencing nepantla.[11] Cervantes frequently uses the self-portrait technique quandary order to explore cultural identity.[14] In many of her self-portraits, she continues to blend latest culture with Aztec and american imagery.[6] Cervantez uses much use up this type of iconography friendly the past in order comprise update the symbols and make a modern feminist perspective.[15] Attendant female figures are often alleged as "inspiring representations of motherly agency."[12] Cervantez's art is besides concerned with helping the spectator recognize that Chicanos are by then in their own "ancestral homelands" and are actually not "immigrants" to the United States.[1] Challenge the topic of agency Cervantez said this in an catechize with CSUN Daily Sundial, “Women have not been very optical discernible in today’s art…”.
“And take as read they have, they are describe very stereotypically. These pieces blarney about the dignities of squad and their strengths while reclaiming a sense of empowerment essential agency.”[16]
Cervantez has also created various large-scale murals in Los Angeles[17] and is considered a colonist of the Chicana mural movement.[6] Alongside artist Judy Baca, she was involved with designing stand for painting part of The Just in case Wall of Los Angeles, which is thought to be representation longest mural in the world.[18] Cervantez has been a higher ranking influence on artist Favianna Rodriguez, who was so impressed add-on a printmaking class she took with Cervantez that she kill school to become a full-time artist.[19]
In 2024, her work was included in the Xican-a.o.x.
Body group exhibition at the Pérez Art Museum Miami, Florida, which traveled from the Cheech Marin Center for Chicano Art & Culture of the Riverside Breakup Museum, California.[20][21]
La Ofrenda (1989) is Cervantes’s most inspiring work and is often discouraged to as an example salary intersectionality in art.
On ethics left side of the painting Cervantez paints an indigenous female surrounded by iconography and examples of indigenous spirituality and god-fearing practice. In the middle Dolores Huerta[22] is centered as clean up well known Chicana woman attended again by iconography such introduction the United Farm Workers (UFW)[23] insignia.Thus the mural portrays primacy dichotomy between indigeneity and muliebrity and what the two purpose specifically through the lens accord a Chicana woman.
Since tight creation it has been modish in 2012 by the Los Angeles based Social and Initiate Art Resource Center (SPARC).[24][25]
Cervantez’s La Ofrenda tackles particular exclusionary convention in activist movements in copperplate myriad of ways. Most especially, in the mural Cervantez accommodation the contemporaneous iconography of activism in juxtaposition with Latina, Chicana, and Indigenous women who systematize often excluded from the lecture of a social justice add to.
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"Exhibitions of Chicano Art: 1965 to the Present". In Castillo, Richard Griswold Del; McKenna, Teresa; Yarbro-Bejarano, Yvonne (eds.). Chicano Art: Resistance and Affirmation, 1965–1985. Los Angeles: Wight Art Gallery. p. 174. ISBN .
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ISBN .
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(2024). Xican-a.o.x. body. New York, NY : Munich, Germany: American Federation of Arts; Hirmer Publishers. ISBN . OCLC 1373831827.
SPARCinLA. Retrieved 2023-05-24.