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Expressions of Another Center: Borderlands Visual Theory & the Art of Luis Jiménez

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Expressions of Another Center: Borderlands Visual Theory & the Art of Luis Jiménez

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Title: Expressions of Another Center: Borderlands Visual Theory & the Art of Luis Jiménez
Author: Castillo, Eric
Advisor(s): Meléndez, A. Gabriel
Committee Member(s): Gómez, Laura E.
Buick, Kirsten P.
Savage, Kirk
Gandert, Miguel
Department: University of New Mexico. Dept. of American Studies
Subject: American Art
Southwest History
Art HIstory
Borderlands
Immigration
Chicano
Identity
Luis Jimenez
Visual Culture
Rasquache
Domesticana
Mexican-American
New Mexico
Collective memory
Old Town
Monument
public art
citizenship
Mexico
murals
vaquero
iconography
Native Americans
Anglo exceptionalism
Chicano Art
protest art
mestizo
hybridity
American identity
border art
LC Subject(s): Jimenez, Luis, 1940-2006--Criticism and interpretation
Sculptors--United States
Lithographers--United States
Mexican American art
Degree Level: Doctoral
Abstract: An artist who constantly challenged various social and political boundaries, Jiménez and his art contribute to a growing discourse about U.S. sculpture and 21st century American art. By combining various methodologies such as formal analysis, visual analysis, and critical biography, I will underscore the significance of Luis Jiménez’s art in 21st century American art. Jiménez’s art functions autobiographically; particular moment in his life affected his art in many ways. His time in Mexico City, New York, and Rome are a few pivotal moments that shifted the focus of his art and encouraged him to return to the Southwest where his controversial art was created. My methodological approach is based on a concept I call borderlands visual theory. This methodological practice will consist of a social history of art with close attention to content, context, and connoisseurship. An interdisciplinary method that will facilitate the research design of my project, borderlands visual theory explains the theories and methods of Jiménez’s contemporary artistic practices. Rooted in histories of oppression and suffering, borderlands visual theory emerges within a framework of purpose, resourcefulness, and an “against the grain,” anti-border mentality. Grounding my analysis of Jiménez within a larger discussion about American and Chicana/o art will underscore the effective methods Jiménez employed to reach a diverse audience. Jiménez’s artworks offer an innovative conceptualization of aesthetics and cultural identity and critically examine regional and national politics. He offers an understanding about American art that is hybrid, differential, and contingent, rather than pure or monolithic. By examining Jiménez’s artwork within the rubric of borderlands visual theory, I will offer a more fruitful discussion about his resourceful, innovative, and multidimensional practice that contemporary writings about him neglect. Differentiated by his style politics and motivated by his sociocultural interventions, Jiménez authored unique methods that engage with the issues of his time. My project will illuminate various moments of artistic intervention that situate Jiménez within a larger, and arguably a more appropriate, discussion about American art. Luis Jiménez was a titan in the art world; his monumental sculptures and poignant lithographs reveal his commitment for a shared humanity as well as provide a platform for his social and artistic agendas. Jiménez created works of art that combined formal artistic practices with Chicana/o vernacular aesthetics. In addition, Jiménez’s incorporation of classical themes and remarkable attention to form situate his art in distinguished academic categories of sculpture and American art. His innovative use of fiberglass materials and archetypal themes position his unique perspective within formalized discussions in art history. The magnitude of Jiménez’s artwork has not been thoroughly documented; because of his ability to cross over into the American art scene, this project will trace out the significant factors that enabled him to cross borders historically closed off to artists of color.
Graduation Date: July 2011
URI: http://hdl.handle.net/1928/13130


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