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Chicana/o RemixArt and Errata Since the Sixties$
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Karen Mary Davalos

Print publication date: 2017

Print ISBN-13: 9781479877966

Published to NYU Press Scholarship Online: January 2018

DOI: 10.18574/nyu/9781479877966.001.0001

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Reframing Chicana/o Art

(p.1) 1 Introduction
Chicana/o Remix

Karen Mary Davalos

NYU Press

This chapter introduces how the vernacular concept of the remix exposes and challenges conventions of Chicana/o art discourse that erase the variety of styles, methods, and approaches employed by artists since the height of the Chicano movement. Using the work of artist Sandra de la Loza as a methodology for remixing, the chapter interrogates the dichotomous lens and categories for art and artists that have functioned to render Chicana/o art invisible or improbable. It proposes that the decolonial methods of Anzaldúan theory, such as borderlands and mestiza consciousness, best illuminate the complexity of Chicana/o art and artists in Los Angeles, an ideal site for a capacious analysis of Chicana/o artists, exhibitions, collectors, curators, and institutions.

Keywords:   remix, borderlands theory, art discourse, decolonial methods, Anzaldúan theory, mestiza consciousness, Los Angeles, revisionist, erasure, visibility

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