Fridays 10-11:30am or by appointment in the Dept. of Art History, 11 Talbot, Rm 204; tel:

Transcription

1 The Presence in Art and Visual Culture FAH (Cross listed as AMER ) Dr. Adriana Zavala Office hours: Thursdays 3-4:30 or by appointment in the Consortium of Studies in Race, Colonialism and Diaspora, Eaton Hall 107; tel: Fridays 10-11:30am or by appointment in the Dept. of Art History, 11 Talbot, Rm 204; tel: Course Description Representations of and by U.S. across a broad range of media, with emphasis on visual art by artists associated with the Chican@ and mainland Puerto Rican communities. Our study of Latin@ visual art will be contextualized in terms of demographic shifts, the growing popularity of Latino culture in the U.S., and ongoing debates about immigration, national security and civil rights. Key topics include the cultural politics of representation, the relationship of contemporary Latin@ artists to the mainstream art world, debates about visual art as a vehicle for the expression of cultural identity, the role of gender, sexuality, class, and ethnicity in creative expression, the relationship between Latino culture and the mainstream, the diversity of the Latino community, how selfrepresentation informs political dissent, and an examination of Latinidad as an affirmative cultural construction for people of Latin American descent in the U.S. (This course fulfills the post-1700 requirement for the Art History major; the Hispanic and Diaspora culture option; World Civ. Req. NOTE: AMER is restricted to Race, Colonialism and Diaspora consortium majors/minors) Course Objectives Learn to analyze, interpret, and write on works of art by Latin@ artists in historical/cultural context Develop a critical understanding of the contribution of Latin@s to the American experience Develop a critical understanding of the relationship of visual images to ideology Develop understanding of the ways that the intersecting dynamics of race, ethnicity, class, and gender produce dissimilar "American" experiences for individuals and groups Learn to think critically in response to scholarly literature in art history, and across a variety of disciplines Oral presentation skills Become aware of how personal experiences relate to frameworks of analysis. We will each have something to contribute to the classroom forum. I encourage you to share your experiences; however, we will also take care to place experience within an analytical framework. The readings I have selected exemplify this process. Course Policies AMER American Studies majors and majors/minors in RCD consortium affiliated programs. This is an integrative seminar level and requires a research paper as the capstone requirement for the course. If you are not in an RCD major we need to correct your enrollment to FAH86. Attendance - Teaching and learning are a collaborative undertaking. I expect you to limit your absences to one unexcused absence. I also expect your courtesy of arriving promptly for class. Late arrivals are distracting to me and fellow classmates. No laptops in class unless you have a documented disability or are a note taker for a student who does. Please see Laptop and electronic gadget policy at the end of the syllabus for my explanation - while convenient, does not substitute for class attendance or office hours. I will occasionally communicate with the class via or via Trunk messaging, but I request that you not abuse to ask me routine information about the class. If you have a question about a reading or assignment please consult the syllabus or handouts first. Make it a point to visit me during office hours or request an appointment. It is the most effective way for us to get to know one another. 1

2 Class ethics - I expect us to interact with each other with respect and maturity, especially when we have divergent viewpoints. Some topics may be challenging. Please approach all relevant material with openness and tolerance. Academic Integrity: Tufts holds its students strictly accountable for adherence to academic integrity. The consequences for violations can be severe. It is critical that you understand the requirements of ethical behavior and academic work as described in Tufts Academic Integrity handbook. If you ever have a question about the expectations concerning a particular assignment or project in this course, be sure to ask me for clarification. The Faculty of the School of Arts and Sciences and the School of Engineering are required to report suspected cases of academic integrity violations to the Dean of Student Affairs Office. If I suspect that a student has cheated or plagiarized in this class, I must report the situation to the dean. COURSE REQUIREMENTS: Attendance and participation in classroom discussion: 10% - you are expected to come to class prepared to discuss issues raised in the readings. You will be evaluated on your attendance and the quality of your preparation and involvement in discussion. Please read the assigned materials before class on the date they are listed. For weeks in which there is more than one reading listed, please read the items in the order listed on the syllabus. I strongly encourage you to follow current events, especially those that involve the US Latin@ community, and I welcome your examples and observations in this regard. I have created a folder on Trunk where you can upload relevant news stories or you can links to me. Reflection papers as assigned (follow style sheet at the end of the syllabus for format): 15% NOTE: LATE PAPERS ARE MARKED DOWN 1/3 LETTER GRADE PER DAY Midterm exam: 25% Details to follow Group project (FAH86 only) and presentation: 25% Details to follow Research paper and presentation (AMER194-03): 25%; 15 pages plus citations and bibliography. Topics will be determined in consultation with me. DETAILS TO FOLLOW Final Exam: 25% Details to follow COURSE READING Books to Purchase (also on reserve at Tisch): Juan Gonzalez, Harvest of Empire (Penguin Books, 2011) ordered for bookstore but available for purchase online Our America: The Latino Presence in American Art, catalog for the exhibition curated by E. Carmen Ramos, Smithsonian American Art Museum (Washington, D.C.: Smithsonian, 2014). This catalog is on reserve but is strongly recommended for purchase; it is a landmark exhibition. Available ($ ) through amazon or I have assigned the two lead essays ( PDFs on Trunk All readings labeled PDF are available on Trunk (course PDF folder) in alphabetical order by author s last name. PowerPoints and all handouts will also be available on Trunk Books on Tisch Library Reserve given the size of the class, readings on reserve will be in high demand so please plan accordingly; do not plan to do these readings the night before! Extra credit extra-curricular options Over the course of the term, I will announce events on campus and beyond for which you can seek extra credit. In order to receive extra credit you must attend the event & write a reaction paper (typically 3-4 pages); I will assess extra-credit papers with -,, +. Extra credit may, without obligation, improve your grade for the course. 2

3 T, 9/2 Introduction COURSE SCHEDULE: Unit 1: CONCEPTS AND DEBATES TH, 9/4 Mutuality and Difference PDF David E. Hayes-Bautista and Jorge Chapa, Latino Terminology: Conceptual Bases for Standardized Terminology, American Journal of Public Health 77 (January 1987): PDF Fernando Treviño, Standardized Terminology for Hispanic Populations, American Journal of Public Health 77 (January 1987): Gonzalez. READ THE FOLLOWING ENTRY: Latino Identities and Ethnicities Reserve, read Tomás Ybarra-Frausto, Primeros Pasos: First Steps toward an Operative Construct of Latino Art, in Our America: The Latino Presence in American Art, pp , and peruse artists and works. Reflect on the following in advance for discussion in class: Hayes-Bautista and Chapa build an argument in favor the term Latino, while Treviño favors the term Hispanic. What are the bases of their respective arguments? Which term seems more appropriate to you and why? Ybarra-Frausto acknowledges the complexity and contradiction of pan-latinidad. What are some of the commonalities and differences in the community that he highlights? T, 9/9 Harvest of Empire Reflection paper due: write a 2-page reflection on a chapter or historical incident of your choice elucidated in Juan Gonzalez book, Harvest of Empire (Penguin, 2011). Format your paper following the Style Sheet at the end of this syllabus. Papers will be collected in class. Come prepared to discuss what you learned. Th, 9/11 Latin@s in the US: Race, Immigration, Nativity PDF Howard Winant, The Theoretical Status of the Concept of Race, in Only Skin Deep. Changing Visions of the American Self, ed. Fusco and Wallis (ICP/HN Abrams, 2003), pp PDF Hope Yen, Census: Hispanics Fuel US White Population Growth, Associated Press, Sept. 29, PDF Miriam Jiménez Román, Looking at the Middle Ground: Racial Mixing as Panacea, in A Companion to Latino Studies, ed. by Flores and Rosaldo (Blackwell, 2007), pp PDF Peruse the following demographic tables: PewResearch: Statistical Portrait of Hispanics in the United States. Online peruse various reports at: PewResearch Hispanic Trends Project: T, 9/16 The Latino Peril Read Online: Éva Eszter Szabó, The Clash of American Civilizations: The US and the Latino Peril, in Americana: E-Journal of American Studies in Hungary: PDF Vickie L. Ruiz, Nuestra America: Latino History as United States History, Journal of American History, vol. 93, no. 3 (Dec. 2006): For your reference: PDF Samuel Huntington, The Hispanic Challenge, Foreign Policy (March/April 2004). This article was a preview of Huntington s book Who are we? The challenges to America s national identity (New York: Simon & Schuster, 2007). PDF Commentary on The Hispanic Challenge, Foreign Policy (May/June 2004). 3

4 TH, 9/18 Stereotypes and Ambivalent Attraction PDF Charles Ramírez Berg, "Stereotyping in Films in General and the Hispanic in Particular," in Latin Looks. Images of Latinas and Latinos in the U.S. Media, edited by Clara E. Rodriguez (Westview Press, 1997), PDF Juan Alonzo, Introduction to Badmen, Bandits and Folk Heroes (University of Arizona Press, 2009), View on Trunk: Come and Take it Day (Jim Mendiola, 2002); also on Tisch Media Reserve Reflection paper due: write a 1-2 page reflection paper on the following: Bearing in mind Juan Alonzo s argument about the ambivalent points of attraction/revulsion within [some stereotypical] representations, consider whether you have ever felt a sense of attraction to an ambivalent stereotype. If so, describe. If not, why? Come prepared to discuss. Papers will be collected (follow Style Sheet). T, 9/23 Latin@ Prominence; Latinization Do one of the following two assignments: Find an image of a Hispanic/Latino who is prominent in the US today. me a.jpg/.png (small file size please) and identify them by name and relevance (eg. musician, actor, politician, artist, author, etc.) by Monday 9/22 3pm so that I can load it into a PowerPoint for discussion. Come prepared to discuss. Or Think of an example of how U.S. culture has been latinized. If you can find a visual image to represent this latinization send me a jpg/png file by Monday 9/22 3pm so I can load it into a PowerPoint. Come prepared to discuss. FYI: Inaugural Celebration and Information Session on the Colonialism Studies Minor and the Consortium of Studies in Race, Colonialism, and Diaspora (RCD) Tuesday, September 23, 5:00pm-7:00pm, Sophia Gordon Hall; refreshments will be served! Unit 2: EL MOVIMIENTO CHICAN@ Th, 9/25 Erasure. Self-Affirmation and Representation PDF Ruben Sálazar, Who is a Chicano and What is it that Chicanos Want? Los Angeles Times, Feb. 6, 1970, 7. Gonzalez. READ THE FOLLOWING ENTRIES: Chicanos and Chicanas; Aztlán; Pachucos; Pachucas; Zoot Suit; Sleepy Lagoon Trial; Luis Valdéz; El Teatro Campesino; Caló (Also relevant but not required: entries on Bracero Program, Brown Berets, Crusade for Justice, César Chávez, Dolores Huerta, La Raza Unida Party, Movimiento Estudiantil Chicano de Aztlán, Reies López Tijerina, Rodolfo Corky González, United Farm Workers) View on Trunk: Zoot Suit (dir. Luis Valdez, 1981); also on Tisch Media Reserve T, 9/30 Rasquache - Chican@ murals, graphics, placas. A Counter-(Popular)Culture within la lucha chicana Gonzalez. READ THE FOLLOWING ENTRIES: Art, Chicano; and, Murals, read this through the section Chicano and Chicana murals Reserve: read Shifra M. Goldman and Tómas Ybarra-Frausto, The Political and Social Contexts of Chicano Art, and Ybarra Frausto Rasquachismo: A Chicano Sensibility, in CARA: Chicano Art Resistance and Affirmation (UCLA/Wight Gallery, 1991), pp and pp , and peruse artists and works. Extra Credit events: Tracing the Roots of Afro-Latino Latino Musical Traditions in the Caribbean Performance: Raquel Z. Rivera and Ojos de Sofía: A Performance Celebrating the Contemporary Relevance of Décimas and Connecting Décimas, Jíbaro Music, Boleros, Palos and Bachata, Tuesday, Sept. 30, 12-1:15 PM, Distler Performance Hall Lecture: Raquel Z. Rivera, Ph.D., "The Socio-Sonic Circuitry of Afro-Latino Music in the Caribbean: From Bomba, Son Jarocho and Palos to Hip Hop and Reggaeton, Tuesday, Sept. 30, 5 PM, Alumnae Lounge, Aidekman Arts Center 4

5 Th, 10/2 The Counter-Counter Culture: rasquache punk PDF Ondine Chavoya, No-Movies. The Art of False Documents, in Only Skin Deep. Changing Visions of the American Self, ed. Fusco and Wallis (ICP/HN Abrams, 2003), pp Reserve: read essays by Amelia Jones, Traitor Prophets : Asco s Art as a Politics of the In-Between, and Chon Noriega, Conceptual Graffiti and the Public Art Museum: Spray Paint LACMA, in Asco: Elite of the Obscure. A Retrospective, , edited by Chavoya and Gonzalez. Catalogue for the exhibition (Los Angeles County Museum and Williams College 2011), pp and , and otherwise peruse this exhibition catalog. Extra Credit Workshop: Comparative Colonialisms: Approaches to the Global Humanities Inaugural Workshop of the Consortium of Studies in Race, Colonialism, and Diaspora (RCD) Alumnae Lounge, Aidekman Arts Center, Saturday, October 4, 10:00am-6:00pm For extra credit: you may attend all or part of this workshop and write a reaction paper. Program schedule is available on our Trunk site T, 10/7 Domesticana: Feminist Critique(s) from Within the Movimiento PDF Amalia Mesa-Bains, Domesticana: the Sensibility of Chicana Rasquache, in Aztlan: A Journal of Chicano Studies, vol. 24, no. 2 (Fall 1999), Reserve: Jennifer González, ch. 3 Amalia Mesa Bains: Divine Allegories, in Subject to Display. Reframing Race in Contemporary Installation Art (MIT Press, 2008), pp PDF Guisela Latorre, Icons of Love and Devotion: Alma López s Art, in Feminist Studies 34, nos. 1/2 (spring/summer 2008), pp TH, 10/9 Art After the Chicano Movement? PDF Tomás Ybarra-Frausto, Post-Movimiento: The Contemporary (Re)Generation of Chicano/a Art, in A Companion to Latino/a Studies, ed. Flores and Rosaldo (Blackwell, 2007), Reserve: read Introduction, by curators Chon Noriega, Rita González and Howard Fox, and also Chon Noriega The Orphans of Modernism, in Phantom Sightings. Art After the Chicano Movement, pp , and peruse remainder of the exhibition catalogue. T, 10/14 Toward a Latino Art or a Re-vision of American Art History? Reserve: E. Carmen Ramos What is Latino About American Art, in Our American: The Latino Presence in American Art (Smithsonian American Art Museum, 2013), pp , and peruse again. Th, 10/16 Midterm Exam Unit 3: Puerto Ricans on the Mainland T, 10/21 Puerto Ricans/Nuyoricans Gonzalez. READ THE FOLLOWING ENTRIES: Puerto Rico, colonialism in; Art, Puerto Rican; Loisaida; Pedro Pietri; Piri Thomas; Young Lords Party (recommended: Foraker Act; Jones Act; Puerto Rico Migration Division; Pedro Albizu Campos; Lolita Lebron; Vieques and Culebra) Reserve: read Marimar Benítez, The Special Case of Puerto Rico, in The Latin American spirit : Art and Artists in the United States, (Bronx Museum of Art, 1989), pp PDF Esmeralda Santiago, excerpts, When I Was Puerto Rican (Addison Wesley, 1993), pp , ,

6 TH, 10/23 Art on the Mainland as Collective Sociocultural Project: Murals and Casitas Gonzalez. READ THE ENTRY: Murals, section on Puerto Rican murals to the end of the entry Online: Elizabeth Harball, How a Mural Captured a Community: The Spirit of East Harlem Remembered, The Uptowner, Dec. 30, 2011: PDF Joe Sciorra and Martha Cooper, "I Feel like I'm in My Country": Puerto Rican Casitas in New York City, TDR Vol. 34, No. 4 (Winter, 1990), pp PDF Juan Flores, Salvación Casita. Space, Performance and Community, in From Bomba to Hip Hop. Puerto Rican Culture and Latino Identity (Columbia University Press, 2000), T, 10/28 Defying Categories: In/Out of the Mainstream: Olga Albizu; Rafael Ferrer; Raphael Montañez Ortiz PDF Rocio Aranda-Alvarado, Unmaking: the Work of Raphael Montañez Ortiz, in Unmaking: the Work of Raphael Montañez Ortiz (Jersey City Museum, 2007), pp. 5-15, peruse works at the back of the catalogue. PDF Raphael Montañez Ortiz, Destructivism: A Manifesto (1962) in None of the Above. Contemporary Work by Puerto Rican Artists (Real Art Ways, Hartford, 2004), PDF Deborah Cullen, Rafael Ferrer s 50 Cakes of Ice, in in Latin American and Caribbean Art. MoMA at El Museo (D.A.P., 2004), Gonzalez. READ THE FOLLOWING ENTRIES: Museo del Barrio; you may also wish to peruse El Museo s website: Th, 10/30 Jorge Soto and El Taller Boricua PDF Yasmín Ramírez, Nuyorican visionary: Jorge Soto and the evolution of an Afro-Taíno Aesthetic at Taller Boricua, Centro Journal, vol. XVII, Number 2 (fall 2005), pp PDF Taína Caragol-Barreto, Aesthetics of Exile: The Construction of Nuyorican Identity in the Art of el Taller Boricua, Centro Journal, vol. XVII, Number 2 (fall 2005), pp T, 11/4 Socially Engaged Installation Reserve: Jennifer González, ch. 4 Pepón Osorio: No Limits, in Subject to Display. Reframing Race in Contemporary Installation Art (MIT Press, 2008), pp View documentary Online: TH, 11/6 Socially Engaged Performance PDF Papo Colo Zero Identity, (1991) in None of the Above. Contemporary Work by Puerto Rican Artists (Real Art Ways, Hartford, 2004), PDF Lucy Lippard, Sometimes he has two heads, many masks, four eyes, or fish for genitals..., in Will, Power & Desire: Painting, Sculpture, Drawing, Performance: (Rosa Esman Gallery/Exit Art, 1986), np. T, 11/11 Veteran s day No Classes TH, 11/13 Cuban-American Artists: Exile, Displacement, Mainstream Online through Tisch: Oxford Encyclopedia of Latinos and Latinas, ed. S. Oboler and D. Gonzalez READ THE FOLLOWING ENTRIES: Art, Cuban American PDF Laura Roulet, Ana Mendieta and Carl Andre: Duet of Leaf and Stone, Art Journal (Fall 2004), pp PDF Raisa Clavijo María Magdalena Campos Pons: Everything is Separated by Water..., Wynwood Art Magazine (November 2007), pp

7 T, 11/18 American Art PDF Deborah Cullen, Jean Michel Basquiat s Untitled and Felix Gonzalez-Torres s Untitled (Perfect Lovers), in Latin American and Caribbean Art. MoMA at El Museo (D.A.P., 2004), Unit 4: Art Museums/Art History: Exclusion/Inclusion Th, 11/20 Exclusion/Inclusion Reserve, peruse thoroughly: Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors. Museum of Fine Arts, Houston, PDF Shifra Goldman, Homogenizing Hispanic Art, New Art Examiner(September 1987), Reserve: peruse once more: Our America: The Latino Presence in American Art (Smithsonian American Art Museum, 2013). Read online: Philip Kennicott, Art Review; Our America at the Smithsonian, Washington Post, October 25, 2013; please also read the comment string following Kennicott s review: AND read online: Alex Rivera and Philip Kennicott Debate Washington Post review of Our America, Style blog, November 1, 2013: View on vimeo: Guillermo Gómez Peña and Coco Fusco, The Couple in the Cage (1992, directed by Paula Heredia) Reflection paper due: write a 2-page reflection paper on one work of art studied in this class since the mid-term exam (follow Style Sheet). Papers will be collected in class. T, 11/25 Project/Research Presentations/Due date TH, 11/27 Thanksgiving Holiday T, 12/2 Project/Research Paper Presentations/Due date TH, 12/4 Project/Research Presentations/Due date FINAL EXAM: THURSDAY DECEMBER 11, 2014, 3:30-5:30pm Style Sheet for all Writing Assignments Papers will be properly formatted: 12-point font equivalent to Times New Roman, 1-inch margins, Double-spaced unless otherwise indicated and spell-checked. For all papers, you will use a consistent and recognized citation form (APA, MLA, CMS) for all sources consulted. You must also attach a bibliography or works cited page. ALL sources consulted must be properly footnoted whether you quote or paraphrase and must appear on your biblio/works cited list. For assistance ask me or consult the following website: As an art history course, if your paper includes visual illustrations you will identify these by author, title and date. These should be labeled as figures (fig. 1, fig. 2, etc.) in the text, with images labeled accordingly and attached to the end of the paper. I will evaluate written assignments for intellectual content and clarity of presentation. I will not edit for grammar, however poor grammar will affect your paper grade. It is your responsibility to seek help in advance, if necessary, at the Academic Resource Center (ARC), especially if I have recommended a consultation in my comments on previous writing assignments. The ARC is an indispensable resource. Use it! Disregarding my advice to seek assistance at the ARC may result in lower grades on subsequent assignments. 7

8 You may not use laptops or other internet/communication gadgets (e.g. smartphones, tablets, etc.,) in this class. Unless you have a documented disability or are a designated note taker for another student (see below), please plan to use paper and a writing implement to take notes. My PowerPoints will be available for download on Trunk and will work well with whatever notes you take to assist in studying. I also regularly distribute handouts with terms and names of works of art we ll discuss in class (i.e. slide sheets ) Please turn off cell phones while class is in session. You may set your phone to vibrate on mute only if you are expecting a very important message about an emergency that may call you away at any moment. Please notify me if this is the case in the event you have to excuse yourself from class. Laptop & Gadget Policy for This Class Why are laptops and other gadgets not permitted for taking notes in my class? 1. Laptop use in the classroom will DISTRACT YOU. Most students who bring a laptop to class use it to surf the Internet, check /facebook, or do work for other classes. Even those who intend to use the laptop to take notes are distracted by incoming and chat messages. 2. Laptop use will DISTRACT YOUR CLASSMATES. The chattering noise of typing on a laptop distracts other students in the class. Even if you mute your keyboard, the fact that you are typing on your laptop, checking , playing solitaire, surfing the internet, or watching YouTube in class will distract classmates who can see your screen. 3. Laptop use in the classroom will DISTRACT AND ANNOY ME. The typing noise and the fact that I can see you looking at something that you appear to deem more interesting than the images we are studying together will distract ME in the middle of my utterly fascinating lectures. 4. The entire class (including your professor) wonders what you are doing with your hands under your desk when you are sending surreptitious text messages from your cell phone. Texting during class -- especially while other students are speaking, giving presentations, or asking questions is disrespectful. This class is undergirded by the concept that as global citizens we must learn from each other, from our similarities and differences. If your friends are interested in what we are doing in class such that you have to text them, tell them to enroll next time. Laptops and other gadgets are permitted under these limited circumstances: 1) Oral Reports: You may use your laptop or any other audio-video device while giving an oral report or presentation in this class. (Turn yours off while others are giving their presentations!) 2) ical: With the professor s permission, you may consult and update your electronic calendar when assignments are given and when changes have been made to the syllabus. This usually happens in the last few moments of the scheduled class time. 3) Note takers and Students with Disabilities: If you use a laptop or other electronic device (such as a taperecorder) as an academic accommodation for a documented disability, and you need to use this device in order to successfully participate in this class, please give me the letter from Disability Services detailing your use of this accommodation. If you have any concerns about your need to use any form of assistive technology in this class as an academic accommodation for a disability, please speak with me about this as early in the semester as possible. If you do not feel comfortable speaking with me about the confidential nature of your disability, please ask Linda Sullivan (Director, Student Accessibility Services, ) to contact me so that she may instruct me as to how best to accommodate you in this class. 8