|
||||||||
|---|---|---|---|---|---|---|---|---|
Greetings Barbara Carrasco, I am almost certain you have not forgotten about your favorite student, about two years ago here at Loyola Marymount University. I, Krystal Burns took your mural class where we learned painting techniques, mural history and did some great field trips. We had some great conversations about your involvement in activism and your art. I mentioned to you my mother’s artistic abilities and during our mural field trip in Downtown, you met her since she participated in the trip. Truly, I can not believe that two years has already passed by. It seems like it was last semester when I was taking your class.
Many of the concepts we have been discussing have been on the understandings of who can identify as a Chicana/o, what the significance of borderlands is for Chicana/os, what it means to be a mestizaje, Latina/o, and American. These concepts and terms that have become adopted vocabulary that expresses those everyday life encounters with those who identify other than as a Chicana/o. Dissecting the terminology that represent the Chicana/o community has helped give insight to the culture and misrepresentation that exists in our legacy. In much of your art, you also reflect these concepts. In your past work, the background story you share from which your inspiration dervived from, root back to the experiences that are represented through these terms and ideologies. For example, Gloria Anazldua discusses the concept of borderlands, and how as Chicana/os, we are sometimes perceived to not be “native” within the ethnic and cultural groups we represent. This sense of being denied “truthfulness” to the culture we were born into, places Chicana/os into a space of borderlands, which becomes an origin we can identify with. In one of your art pieces, “Milk the Pass”, your childhood experiences of not being considered Mexican because of your fair skin, is an example of what borderlands addresses within its concept and purpose. Battling with this sort of rejection for not being the stereotypical image of someone who represents your ethnic group, a new space is created for those Chicana/os who are considered to not be American enough or Latin enough, which is called borderlands. Another book we have studied is “Chicana Art: politics of spiritual and aesthetic altarities” by Laura Perez, who analyzes the work of Chicanas who represent other concepts within the Chicana/o community. In this book, there is a section devoted to you titled, “Modern-Day Calaveras and Saints in Barbara Carrasco’s Work”. Some of your work is mentioned, such as the sixteen-drawing series Here Lies/Hear Lies, Self-Portrait in Coffin Form , Imagenes e historias and Modern Day Altar. Three of the sixteen photos are displayed from your series Here Lies/Hear Lies: Cesar, Diana, and Saint Teresa. When I read the description of where your inspiration to paint such images came from, I was in agreement with what you were communicating, but more so inspired that you addressed a crucial issue our society tends to neglect. Much of your work, such as this work puts into practice the concept of alterity in the sense that society uplifts senselessness, while turning their head away from dialing in on other critical issues, such as community social injustices that are ignored. With these specific images, that are displayed in the Chicana Art book, it elaborates on your “representation of the[se] paintings as television, acknowledge[ing] another [practice] of lived spirituality, [and] the constant recreation of ‘altars’ on everyday surfaces like tv sets,” (118). Taking notice of modern day value towards television, you recognize the loss of sight on valuable abilities through the images portrayed. Referring to television sets as an altar proves the power of broadcasted images take universally communicate with others, but are less prone to reflecting human suffrage and ways in which we can help aid those in need. Usage of these specific role models who have evoked the spirit of activism, communicates the importance of what television can do but also what it is not doing. The concept of alterity is reflected in many of your art pieces and in the type of work you have respectively committed yourself to. As an artists and muralist, much of the work I have seen and also discovered have been pieces that incorporate much more than just an attractive image. As I learned in your class, there is a story that is being told in many murals and very much so in any art piece. Much of the work I have come across in my research on your work, has evolved around the concept of offering one than one perspectives to the subject, both as a testimony and outsider. In a sense, you offer your audience alternatives to understanding the story you are trying to communicate. Images are worth a million words, and when you are telling a story that is never given the opportunity to express those million words, your images are crucial in depicting that silence. Becoming active and involved with the farm worker rights and wrongs, you are one of the legends who has helped voice the mistreatment and lack of human rights for farm workers. During our time spent together, we conversed over you involvement with the United Farm Workers movement and committee. I learned quickly about your art work for the movement, with banners and images portraying the farmer’s labor abuses. One piece I remember you being very proud and excited about was seeing your computer animation piece, “Pesticides” being displayed on the Spectacolor Lightboard at Times Square in New York in 1989. With the few minutes given to view the mini-movie, you addressed the health risks our farm workers are place in, the hard work they do for our country and brought awareness to the issue of our ignorance by not knowing what occurs right beneath our noses. This art piece, once again reflects the concept of alterity in it’s ability to announce the struggles lived by farm workers who were never given the opportunity to voice their human rights violations. First, with having the honor of meeting and working with you, I can personally say that you are an individual who has actively taken notice of the malice and wrong doing that is hindered towards those who are subjective to the abuse of authorities. With directing your interest in not towards the betterment of only yourself but finding interest in helping others find solutions to their situations, you have inspired me. Aside from your presence and passion, I have also been truly inspired with your achievements in your education and community involvement. In much of the research and information on your career as an artist, I have noticed a lack of proper and better attention on the type of work you have devoted your life to doing. As I recall one of our conversations about two years ago, I remember discussing with you the creation of a website that is solely devoted to you and the accomplishments you have thrived through and have successfully achieved. As part of this class, we are creating websites for artists and activists who do not currently have a website devoted solely on their work. I decided to select you as my artist/ activist to create a website that gives you the recognition you are deserving of. Currently, we have started on our creations but still need to finish gathering data about our artist/ activist. Being that much of what I have already researched about you is either brief educational history, review of your art pieces, and written interview conversations, I know there is much more to unravel. The work you are known for is remarkable but not given enough displaying and altarity it needs. Much of the work you have done is documented and stored in museums literally around the world, giving intrigued individuals, like myself the ability to see and hear the messages you are making public. Aside from your valuable education, the awards you have been honored with are not only commendable; they are inspiring for your audiences. Being that your work as an artist is rooted in activism, it is important that others know of the fields of needed assistance and strive to be a leader in that area. The recognition you have been given is truly an asset for the Chicana and Latino community because you not only represent that minority group but also voice many of the injustice committed towards them. As I mentioned earlier, my last semester here at LMU has kept me very occupied with seven classes but has also trained me to prioritize myself for a future that lies so near. It is through theses types of experiences I have been privileged enough to have, such as meeting you, has allowed me to discover what my passion in life is, service and activism. Having this wonderful opportunity to be able to study your work and passion, creating you a website will help nurture my practice as an activist. Being that there is still so much more to learn about and from you, I would love it if we could schedule together a meeting time and place. I would love to sit down again and discuss your involvements, art work and other future plans or activities you have in mind. Since this too is a goal of yours to set up a website solely devoted to your work, I would love it if we the both collaborated and designed together. I look forward to seeing and visiting with you again and hope you allow me another opportunity to work with you.
Best regards and best wishes, ~Lil Wing~
|
||||||||