This dissertation proposes an interdisciplinary queer archive methodology I term "archival body/archival space," which recovers, interprets, and assesses the alternative archives and preservation practices of homosexual men in the Chicano Art Movement, the cultural arm of the Mexican American civil rights struggle in the U.S. Without access to systemic modes of preservation, these men generated other archival practices to resist their erasure, omission, and obscurity. The study conducts a series of archive excavations mining "archival bodies" of homosexual artists from buried and unseen "archival spaces," such as: domestic interiors, home furnishings, barrio neighborhoods, and museum installations. This allows us to reconstruct the artist archive and, thus, challenge how we see, know, and comprehend "Chicano art" as an aesthetic and cultural category. As such, I evidence the critical role of sexual difference within this visual vocabulary and illuminate networks of homosexual Chicano artists taking place in gay bars, alternative art spaces, salons, and barrios throughout East Los Angeles.
My queer archive study model consists of five interpretative strategies: sexual agency of Chicano art, queer archival afterlife, containers of desire, archival chiaroscuro, and archive elicitation. I posit that by speaking through these artifact formations, the "archival body" performs the allegorical bones and flesh of the artist, an artifactual surrogacy articulated through things. My methodological innovation has direct bearing on how sexual difference shapes the material record and the places from which these "queer remains" are kept, sheltered, and displayed. These heritage purveyors questioned what constitutes an archive and a record, challenging the biased assumption that sexuality was insignificant to the Chicano Art Movement and leaving no material trace.
The structure of my dissertation presents five archive recovery projects, including: Robert "Cyclona" Legorreta, Joey Terrill, Mundo Meza, Teddy Sandoval, and VIVA: Lesbian and Gay Latino Artists of Los Angeles. The restoration of these artists also reveals the profound symbiosis between this circle of artists, Chicano avant-gardism, and the burgeoning gay and lesbian liberation movement in Los Angeles. My findings rupture the persistent heterosexual vision of this period and reveals a parallel visual lineage, one which dared to picture sexual difference in the epicenter of Chicano art production.
|Advisor:||Sies, Mary Corbin|
|Commitee:||Gonzalez, Jennifer A., Nell Smith, Martha, Nieves, Angel David, Williams-Forson, Psyche|
|School:||University of Maryland, College Park|
|School Location:||United States -- Maryland|
|Source:||DAI-A 73/02, Dissertation Abstracts International|
|Subjects:||American studies, Art history, Museum studies, LGBTQ studies|
|Keywords:||Archive studies, California, Chicano, Chicano art, Collections/collectors in California, Gegorreta, Robert "Cyclona", Homosexuality, Homosexuality and visual culture, Material culture studies, Meza, Mundo, Sandoval, Teddy, Terrill, Joey|
Copyright in each Dissertation and Thesis is retained by the author. All Rights Reserved
The supplemental file or files you are about to download were provided to ProQuest by the author as part of a
dissertation or thesis. The supplemental files are provided "AS IS" without warranty. ProQuest is not responsible for the
content, format or impact on the supplemental file(s) on our system. in some cases, the file type may be unknown or
may be a .exe file. We recommend caution as you open such files.
Copyright of the original materials contained in the supplemental file is retained by the author and your access to the
supplemental files is subject to the ProQuest Terms and Conditions of use.
Depending on the size of the file(s) you are downloading, the system may take some time to download them. Please be