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Challenging National Borders and Local Genre Forms: Declaration of Immigration as Volatile Cultural Text
... As Bronzeville's story continues, the mural's critique evolves. Murals change meaning over time-and surrounded by new contexts, their signifying values, too, change (Bruce 2016b). Yet, it is important to note that there is another possible reading that may dilute the radical effects of the mural's negativity. ...
“The Wall of Daydreaming and Man’s Inhumanity to Man” is a mural that was painted in 1975 at 47th Street and Calumet Avenue in Chicago by William Walker, Mitchell Caton, and Santi Isrowuthakul. It depicts violence, including images of the Ku Klux Klan, Nazis, and the assassination of Martin Luther King Jr. The mural was restored by Damon Lamar Reed in 2003. By analyzing discourse around the production and restoration of the mural in 1975 and 2003, this article argues that the mural functions as an example of negative-content muralism that demonstrates how negative affects, materialized and emplaced by public art, create a nodal point for questioning racial violence and neoliberal urban development that activates rhetorical agency and shapes subjectivity.
Urban redevelopment governances are commonly treated as singular, monolithic entities that are interactively homogeneous, deploying uniform ensembles of policies and practices across their respective cities. This study, alternatively, reveals these formations as adroitly proactive and interactively heterogeneous across their respective cities. Through a racial economy lens, we empirically examine the racial contours of this “governance heterogeneity” in one urban setting: Chicago, Illinois. In this frame, a comparative analysis of Chicago’s Bronzeville and Pilsen neighborhoods is presented. Both neighborhoods are constituted by different racial profiles: Bronzeville is home to a predominantly African-American population, whereas Pilsen is mostly Mexican and Mexican-American. The study reveals that redevelopment governances are differentially responsive to established, deeply rooted racialized conceptions of “Blackness” and “Latinoness.” As a result, the form and trajectory of redevelopment in both settings has unfolded in markedly different ways.
This essay explores the visual and discursive elements of Americanos, a published collection of photographic images of Latina/o life in the United States. While clearly a mass-market text intended for enjoyment and edification, Americanos also serves as a mass-mediated rhetoric through its location and its representation of Latina/o life and cultural practices. We argue that, in this role, Americanos serves the project of a critical rhetoric by articulating a vernacular rhetoric, and we explore how the verbal and visual fragments in Americanos invent a Latina/o community while reifying Latina/o differences. We conclude that Americanos implicitly critiques how Latina/o identities have been flattened and distorted by dominant discourses.
This case study on the Mural Arts Program in Philadelphia, PA, explores cultural representations of African Americans and their effects on cultural identifications in intercultural communities. Critical visual analysis of two popular murals reveals that when ethnic community members are empowered in producing self-representations, the resulting artwork counters dominant media images and constitutes new modes and themes of resistance for disenfranchised communities. Interpretive analysis of mural production processes and audience reception extends communication theory about cultural identity by suggesting how visual representations of cultural group members serve as sites of identity negotiation.
By critically engaging various forms of cultural production/material culture in El Barrio/East Harlem, New York, this article challenges communication scholars to explore the relationship between agency and identity, expanding our theoretical understandings of rhetorical agency in Latina/o contexts. This article argues that everyday spaces evidence a tactical, tropicalized rhetorical agency that underwrites cultural citizenship in El Barrio. Casitas, gardens, flags, and murals "make do" with the fissures of the built environment to craft literal and figurative spaces for/of a diasporic and unofficial Nuyorican culture. The rhetorical production of culture enacts a kind of tropicalization-a troping that imbues rhetorical scenes with an indelibly Latina/o ethos-which accents everyday material forms in East Harlem and demonstrates productive forms of cultural citizenship.
Exploring three major hubs of muralist activity in California, where indigenist imagery is prevalent, Walls of Empowerment celebrates an aesthetic that seeks to firmly establish Chicana/o sociopolitical identity in U.S. territory. Providing readers with a history and genealogy of key muralists' productions, Guisela Latorre also showcases new material and original research on works and artists never before examined in print. An art form often associated with male creative endeavors, muralism in fact reflects significant contributions by Chicana artists. Encompassing these and other aspects of contemporary dialogues, including the often tense relationship between graffiti and muralism, Walls of Empowerment is a comprehensive study that, unlike many previous endeavors, does not privilege non-public Latina/o art. In addition, Latorre introduces readers to the role of new media, including performance, sculpture, and digital technology, in shaping the muralist's "canvas." Drawing on nearly a decade of fieldwork, this timely endeavor highlights the ways in which California's Mexican American communities have used images of indigenous peoples to raise awareness of the region's original citizens. Latorre also casts murals as a radical force for decolonization and liberation, and she provides a stirring description of the decades, particularly the late 1960s through 1980s, that saw California's rise as the epicenter of mural production. Blending the perspectives of art history and sociology with firsthand accounts drawn from artists' interviews, Walls of Empowerment represents a crucial turning point in the study of these iconographic artifacts. Copyright
This paper proposes a systematic approach to the study of immigration and art by considering relevant theoretical concepts. We focus on the role of institutions and economic change as forces shaping the expressive alternatives of immigrants and their children.
Chicano mural painting on exterior surfaces emerged in the wake of the La Raza militancy during the late 1960s. The murals initially emphasized ethnic and political expression. Themes displaying place and environmental consciousness are beginning to appear in this form of exterior art. The murals are a cultural mirror of group identity for the Mexican American community.
August 17, 2012 was a “Global Day of Action” in support of Pussy Riot, a radical feminist performance group from Russia who had been incarcerated for their “Punk Prayer” at the altar of the Christ the Savior Cathedral in Moscow in February 2012. This paper reads the “Punk Prayer” as an image event with an extensive afterlife, mobilized through the transnational icon of the balaclava. By reading its production (socially and spatially) along with its circulation, evident in solidarity protest images, it argues that transnational iconicity enables transnational solidarity, an affective sense of connection and responsibility.
In several cities in the Southwest and Midwest with sizable enclaves of Chicanos, there are to be found considerable numbers of images that have become leitmotifs of Chicano art. In their ubiquity, these motifs demonstrate that the Chicano phase of Mexican-American art (from 1965 to the 1980s) was nationally dispersed, shared certain common philosophies, and established a network that promoted a hitherto nonexistent cohesion. In other words, it was a movement, not just an individual assembly of Mexican-descent artists. In what follows, Chicano art is examined as statements of a conquered and oppressed people countering oppression and determining their own destiny, though not all the producers of these images necessarily saw their production in the political way they are framed below. Examples have been chosen specifically to show how, in response to exploitation, artists have taken an affirmative stance celebrating race, ethnicity, and class.
Rhetorical agency is the capacity for words and actions to be intelligible and forceful, and to create effects through their formal and stylistic conventions. The polemical discourses of Larry Kramer, a controversial AIDS activist, demonstrate a concurrence of features that define the polemic as a rhetorical form and therefore enable agency: alienating expressions of emotion; non-contingent assertions of truth; presumptions of shared morality; and the constitution of enemies, audiences, and publics. The unexpected uptake of Kramer's texts by academics invites consideration of the polemic as a queer form that resists the assumption of a necessary and predictable relationship between an intending agent and an action's effects. Thus, the polemic highlights the riskiness, unpredictability, and inevitable contingency of agency, and positions queerness itself as the condition of possibility for any rhetorical act.
Murals have been an important medium of public expression in Mexico since the Mexican Revolution, and names such as Diego Rivera, David Alfaro Siqueiros, and José Clemente Orozco will forever be linked with this revolutionary art form. Many people, however, believe that Mexico's renowned mural tradition died with these famous practitioners, and today's mural artists labor in obscurity as many of their creations are destroyed through hostility or neglect. This book traces the ongoing critical contributions of mural arts to public life in Mexico to show how postrevolutionary murals have been overshadowed both by the Mexican School and by the exclusionary nature of official public arts. By documenting a range of mural practices—from fixed-site murals to mantas (banner murals) to graffiti—Bruce Campbell evaluates the ways in which the practical and aesthetic components of revolutionary Mexican muralism have been appropriated and redeployed within the context of Mexico's ongoing economic and political crisis. Four dozen photographs illustrate the text. Blending ethnography, political science, and sociology with art history, Campbell traces the emergence of modern Mexican mural art as a composite of aesthetic, discursive, and performative elements through which collective interests and identities are shaped. He focuses on mural activists engaged combatively with the state—in barrios, unions, and street protests—to show that mural arts that are neither connected to the elite art world nor supported by the government have made significant contributions to Mexican culture. Campbell brings all previous studies of Mexican muralism up to date by revealing the wealth of art that has flourished in the shadows of official recognition. His work shows that interpretations by art historians preoccupied with contemporary high art have been incomplete—and that a rich mural tradition still survives, and thrives, in Mexico.
This article describes a Latino community on the near southwest side of Chicago and the attempts of a community-based organization to respond to community issues and concerns. We first describe the history and characteristics of the community, highlight some of the challenges it currently faces and then discuss the development and activities of a unique church-based community organization. The organizing effort is assessed in light of the literature on community intervention as well as in relation to the community's cultural heritage and characteristics.
Traditionally, the political murals of Belfast have been understood as expressions of either loyalist or republican communities, a reading that reduces the complex struggles of Northern Ireland into a simple conflict between two groups. This article rereads the murals through the specific context of the peace process, in which the “two communities” thesis is losing its relevance. It suggests that when the murals are understood through three, wider networks—production, signification, and reception—it is possible to see how they disrupt ongoing debates about public art, make explicit gestures to other international conflicts (such as the hunger strikers in Turkey), and encourage a new form of political tourism. Rereading the murals in this way reveals the multiple global networks that the city of Belfast is linked into, networks that are silenced by a traditional “two communities” framework.
Public Culture 14.1 (2002) 191-213
The speed, intensity, and extent of contemporary global transformations challenge many of the assumptions that have guided the analysis of culture over the last several decades. Whereas an earlier generation of scholarship saw meaning and interpretation as the key problems for social and cultural analysis, the category of culture now seems to be playing catch-up to the economic processes that go beyond it. Economics owes its present appeal partly to the sense that it, as a discipline, has grasped that it is dynamics of circulation that are driving globalization -- and thereby challenging traditional notions of language, culture, and nation.
There is a certain historical irony to the contemporary discovery of the centrality of circulation to the analysis of the globalization of capitalism. The anthropologist Claude Lévi-Strauss (1969) inaugurated what would later be called the "linguistic turn" by applying Prague School linguistics to the analysis of circulation and exchange in precapitalist societies; by focusing on the structural analysis of the "total social fact" of exchange, he sought to overcome the dichotomy of economy and culture that is characteristic of modern thought. In hindsight, it can be seen that his use of phonology as the model for structural analysis raised fundamental issues about structure, event, and agency that continue to inform poststructuralist discussions of performative identity. One result is that performativity has been considered a quintessentially cultural phenomenon that is tied to the creation of meaning, whereas circulation and exchange have been seen as processes that transmit meanings, rather than as constitutive acts in themselves. Overcoming this bifurcation will involve rethinking circulation as a cultural phenomenon, as what we call cultures of circulation. An expanded notion of performativity would then become crucial for developing a cultural account of economic processes.
If circulation is to serve as a useful analytic construct for cultural analysis, it must be conceived as more than simply the movement of people, ideas, and commodities from one culture to another. Instead, recent work indicates that circulation is a cultural process with its own forms of abstraction, evaluation, and constraint, which are created by the interactions between specific types of circulating forms and the interpretive communities built around them. It is in these structured circulations that we identify cultures of circulation. Our idea draws from a variety of contemporary sources, including Benedict Anderson's (1991) account of nation, narration, and imagination; Jürgen Habermas's (1989) work on public opinion and the public sphere; Arjun Appadurai's (1996) conceptualizations of cultural flows and "-scapes"; and Charles Taylor's essay, in this issue, on the self-reflexive creation of modern social imaginaries. But our project also harks back to classic anthropological work on gifts and exchange such as studies by Marcel Mauss (1967) and Bronislaw Malinowski (1966), and their updatings by Pierre Bourdieu (1977), Annette Weiner (1992), and Jacques Derrida (1992), as well as Marxist analyses of money and capital (Postone 1993; Harvey 1982). The broad range of this legacy suggests that developing a critical perspective on circulation will require moving beyond disciplinary boundaries and placing it in a conceptual space that encompasses some of the most difficult and troubling issues in contemporary cultural and philosophical analysis: self-reflexivity, performativity, indexicality, metalanguage, objectification, and foundationalism, to name just a few.
Cultures of circulation are created and animated by the cultural forms that circulate through them, including -- critically -- the abstract nature of the forms that underwrite and propel the process of circulation itself. The circulation of such forms -- whether the novels and newspapers of the imagined community or the equity-based derivatives and currency swaps of the modern market -- always presupposes the existence of their respective interpretive communities, with their own forms of interpretation and evaluation. These interpretive communities determine lines of interpretation, found institutions, and set boundaries based principally on their own internal dynamics.
The three social imaginaries that Taylor (in this issue) suggests are crucial to Western modernity -- the public sphere, the citizen-state, and the market -- all presuppose a self-reflexive structure of circulation built around some reciprocal social action, whether that action be reading, as in the case of the public sphere and nationalism, or buying and selling...
Meridians: feminism, race, transnationalism 5.1 (2004) 201-224
The Virgin of Guadalupe is omnipresent in Chicano/a visual space. She is painted on car windows, tattooed on shoulders or backs, emblazoned on neighborhood walls, and silk-screened on t-shirts sold at local flea markets. Periodically, her presence is manifested in miraculous apparitions: on a tree near Watsonville, California; on a water tank, a car bumper, or a freshly made tortilla. She is the sorrowful mother, a figure who embodies the suffering of Chicano/a and Mexican populations in the context of colonization, racism, and economic disenfranchisement.
The Virgin of Guadalupe is a polyvalent sign, able to convey multiple and divergent meanings and deployed by different groups for contradictory political ends. For example, the Catholic Church deploys the image of the Virgin of Guadalupe in service of its regressive sexual politics. However, progressive movements have also carried the image of the Virgin of Guadalupe to signify resistance to colonization and economic exploitation, as in the War of Mexican Independence and in the United Farm Workers' struggle for economic justice. Chicano/a cultural workers—from graffiti artists to novelists—use the Virgin of Guadalupe as a sign of racial solidarity, for she is imagined to have brown skin, or as a sign of transnational solidarity, for she is the patron saint of Mexico. Chicano/a artists have reproduced and reinterpreted the Virgin of Guadalupe in their retablos, paintings, murals, posters, films, performance, and literature. Almost without exception, Chicano/a films include the image of Guadalupe in their sets, nodding to her importance in Chicano/a visual space. And merchants in Chicano/a neighborhoods use the Virgin of Guadalupe to sell their product: it is commonplace to see a mural devoted to the Virgin on the outside of a neighborhood liquor store or to find Virgin of Guadalupe auto "air fresheners" at the car wash.
Because of her ubiquity and her polyvalence, the image of the Virgin of Guadalupe is a sign that is especially available for semiotic re-signification and cultural transformation. Alma Lopez, a Chicana lesbian artist, has seized this semiotic possibility, creating a series of digital images that break open and transfigure previous interpretations and uses of the Virgin. Lopez's images make manifest the sexuality and desire that are embedded in Chicano/a attachments to the image of the Virgin of Guadalupe. As might be expected, Lopez's work has been quite controversial. Her 1999 digital collage Our Lady (fig. 1) incited demonstrations, community meetings, and letters to the editor when it was displayed at the Museum of International Folk Art in Santa Fe, New Mexico. Angered by Lopez's image, a vocal group of Chicano and Catholic activists called for its removal from the museum. Rhetorically reducing the image to the language of fashion, these activists repeatedly described Lopez's piece as a depiction of "the Virgin of Guadalupe in a bikini." The demonstrators gained the support of Santa Fe Archbishop Michael J. Sheehan, who called the piece "insulting and sacrilegious," asserting that in Lopez's image the Virgin is "shown as a tart or a street woman" (Office of Communications, Archdiocese of Santa Fe, 2001). Chicano nationalists tried to maintain control over the meaning of the Virgin of Guadalupe and contain her within the semiotic structure of the Catholic Church.
The protests that surrounded Our Lady caused considerable consternation and debate within Chicano/a communities in New Mexico and beyond. Ultimately, however, Lopez's defenders successfully deployed First Amendment arguments and the New Mexico museum's Committee on Sensitive Materials decided that the work would remain on display. Undoubtedly, free speech arguments have strategic value—that is, they protect a space for the public articulation of queer desire and the display of images that contest fixed and static ideas about cultural identity. However, First Amendment arguments cannot begin to account for the kind of cultural work achieved by queer and feminist Chicano/a art. Speaking from the position of a queer Chicana cultural critic, I argue that rights-based arguments assume that we (artists and critics of color, queers, and...
This article demonstrates how mass media, because of their extensive accessibility and scope, can serve as both reservoirs and reference points for the circulation of words, phrases, and discourse styles in popular culture. Focusing on the social circulation of radio discourse in Zambia, I examine the semiotics of the decontextualization, recontextualization, and creative reworking of media discourse outside of contexts of direct media consumption. The analysis illustrates one productive avenue for probing the linguistic intertextuality of large-scale societies, as well as the more general heteroglossic nature of language. It suggests that people's active engagements with mass media, along with the social circulation of media discourse and its intertextual connections, are key components in the construction and integration of communities.
Habermas argues that the epistemic dimension of a democracy resides in public opinion. This paper argues that a deliberative model of public opinion needs to take into account exchanges among ordinary citizens that underwrite public opinion and are a major source of the political public sphere’s unruliness. Second, it argues that when we examine how ordinary citizens make arguments about public problems that intersect their lives, there is evidence that their norms of reasoning, standards of evidence, and modes of argumentation challenge the presuppositions and rationality of authority. Finally, it argues that although the power of media moguls is not to be discounted, the clock is ticking. Internet communication has opened new avenues for information and participation that can elude corporate power’s capacity to control the game.
This article discusses certain aspects of Peircean semiotics as they can contribute to the social analysis of material artifacts. It focuses on the concepts of iconicity and indexicality, paying particular attention to their roles in mediating contingency and causality, and to their relation with possible actions. Because iconicity and indexicality themselves ‘assert nothing,’ their various social roles turn on their mediation by ‘Thirdness’. This circumstance requires an account of semiotic ideologies and their practical embodiment in representational economies. The article concludes with a call for a richer concept of the multiple possible modes of ‘objectification’ in social life.
Chicago is a city known for its fabulous architecture and public sculpture by artists such as Picasso and Calder, but anyone who has seen the gorgeous lunettes in the Auditorium Theater or the South Side's Wall of Respect, which inaugurated the city's contemporary mural movement, knows that Chicago has an equally rich tradition of mural painting. Through these murals, the history of Chicago and the nation is writ in churches and lobbies, on viaducts and school walls. Mary Gray's A Guide to Chicago's Murals is the first definitive handbook to the treasures that can be found all over the city. With full-color illustrations of nearly two hundred Chicago murals and accompanying entries that describe their historyâwho commissioned them and why, how artists collaborated with architects, the subjects of the murals and their contextsâA Guide to Chicago's Murals serves both a general and a specific audience. Divided into easy-to-read geographical sections with useful maps for walking tours, it is the perfect companion for tourists or Chicagoans interested in coming to know better this aspect of the city's history. Gray also provides crucial information on lesser-known artists and on murals that have been destroyed over the years, filling a gap in the visual record of the city's development. Gray also includes biographies of more than 150 artists and a glossary of key terms, making A Guide to Chicago's Murals essential reading for mural viewing. From post offices to libraries, fieldhouses to banks, and private clubs to street corners, Mary Gray chronicles the amazing works of artists who have sought to make public declarations in this most social of art forms. "A major lacuna in the history of art in Chicago has been filled, with the thoroughness of the research proportionate to the richness of the material revealed."âFrom the Foreword by Franz Schulze "Gray's book . . . can function as a guidebook, as the murals are conveniently arranged according to the quadrants of the city. But the book is also beautiful to look at and indespensable as art history and Chicago history as well. . . . This book is a wonderful guide to Chicago's rich and unique mural tradition."âElizabeth Alexander, Chicago Tribune Books "If you love art and history, this is a book you'll truly enjoy."âAl Paulson, Utne Reader
Cities today are trying to reinvent themselves using buzzwords like the New Urbanism. New Urbanist policies have generated more positive economic outcomes for cities than past gentrification policies have ever been able to accomplish by focusing on the "best and highest use." However, the consequences of this policy on the resident (and frequently minority) populations have barely received attention. This inattention is not accidental since the conservative vocabulary hides racial issues behind new terminology.
Protect-community movements across America are alive and well. The authors examine one such movement in a Chicago working-class neighborhood -- Pilsen. They focus on a discourse oppositional to gentrification that has effectively mobilized space and historicity to speak its truths. The results reveal that diverse mental spaces were constructed and used in discourse to offer two critical constructions: positive resident identities, and developers as villains. Such spaces, grounding medium in the discourse, framed, organized, and illuminated these constructions. This visual rhetoric, Henri Lefebvre's representation of spaces, was a key ingredient in discourse. With actual and threatened opposition to gentrification, many developers formed a sense of a 'ready-to-rumble neighborhood'. Fears of virulent street tactics (that is, harassment of gentrifiers) most discouraged developers because they could make development projects risky.
Gentrification before Gentrification Vorhees Centre for Neighbourhood and Community Improvement
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Movements of Feminism: The Circulation of Discourses About Women
- Susan Gal
Susan Gal, "Movements of Feminism: The Circulation of Discourses About Women," in Recognition Struggles and Social Movements: Contested Identities, Power and Agency, ed. B. Hobson
(Cambridge: Cambridge University Press, 2003), 93.
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Utilizing an Aesthetics of Destabilization to Read the Public Pedagogy in Young People's Community-based Social Justice Artworks
- Sharon Verner
Sharon Verner Chappell, "Utilizing an Aesthetics of Destabilization to Read the Public Pedagogy
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Reading Latina/o Images: Interrogating Americanos.” Critical Studies in Media Communication 21
- Bernadette Calafell
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Signs from the Heart: California Chicano Murals
- Eva Cockcroft
- Sperling
Cockcroft, Eva Sperling. Signs from the Heart: California Chicano Murals. Albuquerque, NM:
University of New Mexico Press, 1993.
Interview by author Available at: http://caitlinbruce.blogspot.com/2011/09/scandal-and-effectiveness-interview.html
- Salvador Jiménez-Flores
After 100 mile march, Pilsen immigrants in D.C. to Deliver Message to Pope
- Stephanie Lulay
Lulay, Stephanie. "After 100 mile march, Pilsen immigrants in D.C. to Deliver Message to Pope."
DNAinfo, 22 Sep. 2015. https://www.dnainfo.com/chicago/20150922/pilsen/after-100-milemarch-pilsen-immigrants-dc-deliver-message-pope (accessed 20 Feb. 2016).
Chicago: Mexicanidad in Pilsen
- Victor Margolin
Victor Margolin, "Chicago: Mexicanidad in Pilsen," AIGA Journal of Graphic Design 17.1 (1999).
Pilsen Murals: A Need to Change the World
- Laura Browning
Browning, Laura. "Pilsen Murals: A Need to Change the World." Chicagoist, 1 Apr. 2010. http://chica
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Community-Based Arts Organizations: A New Center of Gravity
- Ron Chew
Ron Chew, "Community-Based Arts Organizations: A New Center of Gravity," Animating Democracy: A Program of Americans for the Arts (2009), 10. http://www.giarts.org/sites/default/files/
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Youth Painted Pro-Immigration Mural Defaced by Graffiti
- Marcus Gilmer
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Encountering Visions of Aztlan: Arguments for Ethnic Pride, Community Activism and Cultural Revitalization in Chicano Murals
- Margaret R Laware
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Identity Theft: Gentrification, Latinidad, and American Girl Marisol Luna
- Jennifer Rudolph
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