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  • Judith F. Baca Working on Uprising of the Mujeres (ca. 1979)

    SPARC

    In 1977 Judith F. Baca spent six weeks at the Taller Siqueiros in Mexico City, training with a group of Mexican and Chicano artists. At the workshop she began developing Uprising of the Mujeres, a portable mural she completed in 1979. The mural engages a feminist critique on two levels: within the working class and in the workers' confrontation with owners, providing a complex and inclusive vision of class struggle. It is also an allegory of Baca's experiences as the only woman in the Taller Siqueiros, one of the few women muralists in the Chicano community, and one of the few Latinas in the women's movement. In addition to establishing SPARC, she participated in exhibitions and programs at the Woman's Building and was involved with its predecessor, Womanspace, and with the Feminist Studio Workshop.


    Color photograph
    Courtesy of SPARC © SPARC

  • Goez Art Studios Facade with The Birth of Our Art (1971) (1970s)

    Oscar Castillo


    Color photograph 35mm slide
    UCLA Chicano Studies Research Center Library Photograph by Oscar Castillo. Mural by Don Juan/Johnny D. Gonzalez

  • The Goez Map Guide to the Murals of East Los Angeles (1975)

    Don Juan/Johnny D Gonzalez and David Botello

    The Goez Map Guide to the Murals of East Los Angeles is an offset map printed by Goez Publishing (1975 first edition, Early California Series).


    Offset map printed by Goez Publishing (first edition, Early California Series) 17 x 23 inches
    Image concept and layout by Don Juan/Johnny D. Gonzales. Design and drawing by David Botello. Story illustrations by Robert Arenivar Image courtesy David Botello

  • Rifa (1972)

    Leonard Castellanos


    Silkscreen 28 1/2 × 22 9/16 in
    Courtesy of Center for the Study of Political Graphics, Los Angeles Leonard Castellanos

  • SPARC Artists and Volunteers Working on The Great Wall of Los Angeles (ca. 1976)

    Judith Baca

    The Social and Public Art Resource Center (SPARC) provided workshops and exhibitions in its major mural projects, including The Great Wall of Los Angeles, which was executed by more than 400 young people and artists over the course of several summers beginning in 1976. Here, as with other educational efforts by Chicano art groups, mural production was a critical part of establishing a collaborative dialogue with Chicano youth. By working on the mural, they developed a personal stake in public art as a form of cultural capital.


    Color photograph
    Courtesy of SPARC © SPARC

  • Mechicano Art Center from 1970 through 1975 When It Was Located at 4030 Whittier Boulevard (ca. 1970)

    Mechicano Art Center


    Color photograph
    Courtesy of California Ethnic and Multicultural Archives (CEMA) Mechicano Art Center

  • Ghosts of the Barrio (1974)

    Wayne Healy


    Color photograph
    Courtesy of Wayne Healy © Wayne Healy

  • Reina de Primavera (1976)

    Judithe Hernandez

    Reina de Primavera is one of a suite of thirteen prints in the Mechicano Art Center calendar of 1977.


    Silkscreen print, ed. 65/100
    Courtesy of Joe D. Rodriguez Judithe Hernandez

  • Aztec Wrestler (1980)

    Elsa Flores

    Pictured here is wrestler Louie Perez at Plaza de la Raza.


    Archival ink-jet print 4 x 6 inches
    Courtesy of Elsa Flores Almaraz

  • Sister Karen Boccalero, Linda Vallejo, and Students in Front of Self Help Graphics & Art's Barrio Mobile Art Studio (ca. 1970s)

    Self Help Graphics


    Black-and-white photograph
    Courtesy of California Ethnic and Multicultural Archives (CEMA) © Self Help Graphics & Art

  • Gronk and Willie Herrón with Portable Mural (1973)

    Harry Gamboa Jr


    Color photograph
    Courtesy of the artist © Harry Gamboa Jr.

  • Aztlan Rifa (1977)

    Gilbert Magu Lujan


    Silkscreen print, ed. 33/80 22 1/2 × 17 1/2 in
    Courtesy of Elsa Flores Almaraz © Gilbert Magu Lujan

  • Tumor Hat (Silver and Gold) (1974)

    Harry Gamboa Jr

    Patssi Valdez in hat and costume designed by Gronk


    Color photograph
    Courtesy of the artist © Harry Gamboa Jr.

Fowler Museum at UCLA

Mapping Another L.A.: The Chicano Art Movement

Beginning with the establishment of the first Chicano art gallery in 1969 in East Los Angeles, Chicano artists began a collective re-imagining of the urban landscape through photography, graphic arts, murals, and large-scale architectural plans, as well as through painting, sculpture, installation, and drawing. While their approach was collective in spirit, and undertaken in the context of the Chicano civil rights movement, these artists engaged in varied and debated positions on aesthetics, media, ideology, and the social or community function for their art. Their work was at once local, identity-based, and global in orientation, exploring the uncharted spaces between Mexican tradition, Chicano vernacular, and American modernism. This exhibition maps the diverse social networks among Chicano artist groups and art spaces in Los Angeles during the 1970s. These include Asco, Centro de Arte Publico (CAP), East Los Streetscapers, Goez Art Studio and Gallery, Los Four, Mechicano Art Center, Plaza de la Raza, Self Help Graphics and Art, and Social Public Art Resource Center (SPARC). In showing how these artists mapped another L.A. - as part of a social protest and community empowerment movement - the exhibit presents little-seen work and documentation that reveals a complex history of the artists as they both navigated and imagined the social spaces of Los Angeles.
10/16/2011 – 02/26/2012
Fowler Museum at UCLA
North Campus, UCLA
Los Angeles, CA 90095