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  1. Thanks for doing this article. I have just one small critique on using Mexican American and Chicano interchangable. The term “Chicano” came out of the moratorium where we were deciding whether we wanted to be called Mexican American or Chicano. (I say “we” as a the next generation Chicana, but of course, I was barely alive when this was all decided by my people) Mexican American had a split identity where we didn’t feel much acceptance from Mexicans (from Mexico) nor White Americans. We chose the term “Chicano” deriving from the Indigenous Mexikas who inhabited this land before migrating South. They called themselves Mexikanos, and were stereotyped poorly by the Spaniards. Therefore, we decided to call ourselves Chican@s or Xican@s deriving from MeXikano due to the parallel experiences of colonization, yet, to reclaim it with dignity, pride, and sense of identity.

    I would also like to add that these murals are not only part of Chican@ history but also part of American history (just as Women’s Liberation is part of American history, fighting for equality…so too are these murals a reflection of not only identity but the impact of inequality for people of color striving for social change and access).

    Again, thanks so much for writing this article. Thanks to Sedona for taking the photos. Overall, good article.

    • Thank you, Ehren Clark, for such an insightful article about my exhibit and book. Like Ruby, I also have a comment. It appears from this article that I was a child (with a Leica!) randomly taking pretty pictures. In fact I was an adult, already established as a photographer, and yes, I knew what I was doing.

      Secondly, a quote that was attributed to me, beginning with “These murals were created…” was a quote I had attributed to Centro de Arte Popular in Los Angeles in the introduction to my book “Art and Soul”. Those were not my words.

      Of the message of “Ghosts of the Barrio”, Wayne Healy, the creator of that mural simply said it was a statement of “what’s next?”

      The value of this collection, for Los Angeles’ Chicano community, for Utah’s growing Latino community, and for all people of the United States, is that this is a part of our collective history, as much as the Civil Rights Movement, which preceded the Chicano Revolution by just a few years. What impacts some of us impacts all of us.

      As to your drawing the connection between the murals of East Los Angeles and those of the Mexican muralists of the mid-20th century, you illustrated that link much more eloquently than I did.

      Again, thank you. Sedona Callahan

  2. Ruby Chacon and Sedona Callahan’s comments reveal something of what it takes to write for 15 Bytes. Not only does a review require going to see a show and having an opinion: no, it also requires a lot of background knowledge on art history and movements, plus sensitivity to the issues and identities that concern artists and audiences. In order to even come close to success, writing that appears in 15 Bytes is always read by several staff members, increasing the amount of work we do. But it’s still not finished. We need informed, sensitive collaboration from audience members — like Ruby and Sedona. That’s your part as readers. We hope you will write and tell us what you think about art and how we’re doing. You can also help by following the link from the blog to our donation page and making a contribution to help defray our expenses. We don’t get paid, but we can’t even donate our effort if we can’t pay for the cost of producing and broadcasting 15 Bytes.

    • Geoff, I agree with everything you have stated above. I would like to add one more piece of the puzzle of crafting an informative, captivating and accurate article. Talk to the artist. If I had been contacted, some of the misconceptions could have been clarified very quickly. My contact information was included in the book Art and Soul, and was available at Mestizo.
      With that said, it was still a good article.

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