CARA Part II?
by Kaitlin Wright
Museums all over SoCal have been plastered in Chicano art recently and in large part as a reaction towards Trump’s presidency. This movement has been controversially viewed as an act of creative defiance according to Harry Gamboa, in an article from the LA Times, titled as “another Chicano Art Resistance and Affirmation.” The Chicano Art Resistance and Affirmation, known as CARA, is reputable for the positive impact it has had on the Latinx community in terms of humanitarian rights issues. CARA is intended as a peaceful form of protest and advocacy of Latino rights in the 60’s, but is now resurging due to the current political situation. These artists are proudly depicting the reoccurrence of xenophobia towards Latinx cultures, cultural differences, and political positions (such as the repeal of DACA).
Most CARA inspired art is typically sought out as murals, street art, or what is legally known as “graffiti” and “defacing property”. Nonetheless, it is still applauded by museums and other artists. Major museums that support this portrayal of Chicano art are: Cheech Marin’s Chicano Art Museum in Riverside, Vincent Price Museum in East Los Angeles Community College, The Autry in Griffith Park, and Los Angeles County Museum of Art (LACMA). Cheech Marin’s entire museum is in dedication to Mexican-American history, La Raza and Chicano art. Vincent Price has retained the entire first floor for Mexican-American art, which includes a permanent collection of art from ancient civilizations in Central and South America, with a concentration of art from West Mexico and Peru, the second floor is dedicated to Native American art, and will host the upcoming 14th annual Dia De Los Muertos student altar exhibition.
These museums, including many others unlisted, stand with people of color regardless of status. The message intended by these exhibits is one of resiliency when facing discrimination as a minority community. Chicano art has been a self-explanatory form of art to express struggles of people in their community that has been around since the 60’s, it is viewed as selfless art that focuses on the majority’s issues, not an individual’s issue.