Mario Su‡rez will tell you: GarzaÕs Barber Shop is more than razors, scissors, and hair. It is where men, disgruntled at the vice of the rest of the world, come to get things off their chests. The lawbreakers come in to rub elbows with the sheriffÕs deputies. And when zoot-suiters come in for a trim, Garza puts on a bit of zoot talk and "hep-cats with the zootiest of them." A key figure in the foundation of Chicano literature, Mario Su‡rez (1923-1998) was among the first writers to focus not only on Chicano characters but also on the multicultural space in which they live, whether a Tucson barbershop or a Manhattan boxing ring. Many of his stories have received wide acclaim through publication in periodicals and anthologies; this book presents those eleven previously published stories along with eight others from the archive of his unpublished work. It also includes a biographical introduction and a critical analysis of the stories that will broaden readersÕ appreciation for his place in Chicano literature. In most of his stories, Su‡rez sought to portray people he knew from TucsonÕs El Hoyo barrio, a place usually thought of as urban wasteland when it is thought of at all. Su‡rez set out to fictionalize this place of ignored men and women because he believed their human stories were worth telling, and he hoped that through his depictions American literature would recognize their existence. By seeking to record the so-called underside of America, Su‡rez was inspired to pay close attention to peopleÕs mannerisms, language, and aspirations. And by focusing on these barrio characters he also crafted a unique, mild-mannered realism overflowing with humor and pathos. Along with Fray AngŽlico Ch‡vez, Su‡rez stands as arguably the mid-twentieth centuryÕs most important short story writer of Mexican descent. Chicano Sketches reclaims Su‡rez as a major figure of the genre and offers lovers of fine fiction a chance to rediscover this major talent.

"This is the first book solely dedicated to the history, development, and present-day flowering of Chicana and Chicano visual arts. It offers readers an opportunity to understand and appreciate Chicana/o art from its beginnings in the 1960s, its relationship to the Chicana/o Movement, and its leading artists, themes, current directions, and cultural impact." "The visual arts have both reflected and created Chicano culture in the United States. For college students - and for all readers who want to learn more about this subject - this book is an ideal introduction to an art movement with a social conscience." --Book Jacket.

Mario Suárez will tell you: Garza’s Barber Shop is more than razors, scissors, and hair. It is where men, disgruntled at the vice of the rest of the world, come to get things off their chests. The lawbreakers come in to rub elbows with the sheriff’s deputies. And when zoot-suiters come in for a trim, Garza puts on a bit of zoot talk and "hep-cats with the zootiest of them." A key figure in the foundation of Chicano literature, Mario Suárez (1923–1998) was among the first writers to focus not only on Chicano characters but also on the multicultural space in which they live, whether a Tucson barbershop or a Manhattan boxing ring. Many of his stories have received wide acclaim through publication in periodicals and anthologies; this book presents those eleven previously published stories along with eight others from the archive of his unpublished work. It also includes a biographical introduction and a critical analysis of the stories that will broaden readers’ appreciation for his place in Chicano literature. In most of his stories, Suárez sought to portray people he knew from Tucson’s El Hoyo barrio, a place usually thought of as urban wasteland when it is thought of at all. Suárez set out to fictionalize this place of ignored men and women because he believed their human stories were worth telling, and he hoped that through his depictions American literature would recognize their existence. By seeking to record the so-called underside of America, Suárez was inspired to pay close attention to people’s mannerisms, language, and aspirations. And by focusing on these barrio characters he also crafted a unique, mild-mannered realism overflowing with humor and pathos. Along with Fray Angélico Chávez, Suárez stands as arguably the mid-twentieth century’s most important short story writer of Mexican descent. Chicano Sketches reclaims Suárez as a major figure of the genre and offers lovers of fine fiction a chance to rediscover this major talent.

This anthology provides an overview of the history and theory of Chicano/a art from the 1960s to the present, emphasizing the debates and vocabularies that have played key roles in its conceptualization. In Chicano and Chicana Art—which includes many of Chicano/a art's landmark and foundational texts and manifestos—artists, curators, and cultural critics trace the development of Chicano/a art from its early role in the Chicano civil rights movement to its mainstream acceptance in American art institutions. Throughout this teaching-oriented volume they address a number of themes, including the politics of border life, public art practices such as posters and murals, and feminist and queer artists' figurations of Chicano/a bodies. They also chart the multiple cultural and artistic influences—from American graffiti and Mexican pre-Columbian spirituality to pop art and modernism—that have informed Chicano/a art's practice. Contributors. Carlos Almaraz, David Avalos, Judith F. Baca, Raye Bemis, Jo-Anne Berelowitz, Elizabeth Blair, Chaz Bojóroquez, Philip Brookman, Mel Casas, C. Ondine Chavoya, Karen Mary Davalos, Rupert García, Alicia Gaspar de Alba, Shifra Goldman, Jennifer A. González, Rita Gonzalez, Robb Hernández, Juan Felipe Herrera, Louis Hock, Nancy L. Kelker, Philip Kennicott, Josh Kun, Asta Kuusinen, Gilberto “Magu” Luján, Amelia Malagamba-Ansotegui, Amalia Mesa-Bains, Dylan Miner, Malaquias Montoya, Judithe Hernández de Neikrug, Chon Noriega, Joseph Palis, Laura Elisa Pérez, Peter Plagens, Catherine Ramírez, Matthew Reilly, James Rojas, Terezita Romo, Ralph Rugoff, Lezlie Salkowitz-Montoya, Marcos Sanchez-Tranquilino, Cylena Simonds, Elizabeth Sisco, John Tagg, Roberto Tejada, Rubén Trejo, Gabriela Valdivia, Tomás Ybarra-Frausto, Victor Zamudio-Taylor

DIVThe first full-length survey of contemporary Chicana artists/div

In the early 1990s, a major exhibition Chicano Art: Resistance and Affirmation, 1965-1985 toured major museums around the United States. As a first attempt to define and represent Chicano/a art for a national audience, the exhibit attracted both praise and controversy, while raising fundamental questions about the nature of multiculturalism in the U.S. This book presents the first interdisciplinary cultural study of the CARA exhibit. Alicia Gaspar de Alba looks at the exhibit as a cultural text in which the Chicano/a community affirmed itself not as a "subculture" within the U.S. but as an "alter-Native" culture in opposition to the exclusionary and homogenizing practices of mainstream institutions. She also shows how the exhibit reflected the cultural and sexual politics of the Chicano Movement and how it serves as a model of Chicano/a popular culture more generally. Drawing insights from cultural studies, feminist theory, anthropology, and semiotics, this book constitutes a wide-ranging analysis of Chicano/a art, popular culture, and mainstream cultural politics. It will appeal to a diverse audience in all of these fields.

"Creating Aztlâan interrogates the important role of Aztlâan in Chicano and Indigenous art and culture. Using the idea that lowriding is an Indigenous way of being, author Dylan A. T. Miner (Mâetis) discusses the multiple roles that Aztlâan has played atvarious moments in time, engaging pre-colonial indigeneities, alongside colonial, modern, and contemporary Xicano responses to colonization"--