Issue link: http://digital.copcomm.com/i/1479
73
29. Dolores Hayden, The Power of Place: Urban Landscape as
Public History (Cambridge, MA: The MIT Press, 1995), 86.
30. I owe this comment to my colleague Sara Cody.
31. Hayden, The Power of Place, xii.
32. The title of the series also refers to a song by an infamous
Los Angeles punk rock band, the Germs. The lyrics of the
song are especially apt in the context of Capistran's work:
"Standing in the line / We're aberrations / Defects in a defect's
mirror / And we've been here all the time / Real fixations /
Hidden deep in the furor / What we do is secret—secret!"
(From the album What We Do Is Secret!, Slash Records, 1981.)
33. Hunter Drohojowska-Philp, "Welcome to Dr. Estrada's Odd
Island," Los Angeles Times, Calendar section, January 4,
1998, 56–57.
34. I borrow the term readers of surface geographies from
Edward Soja's "Taking Los Angeles Apart: Towards a
Postmodern Geography," reprinted in The City Reader (2nd
ed.), ed. Richard T. LeGates and Frederic Stout (London and
New York: Routledge, 2000), 192. Soja uses the descriptive
in reference to an expanded reading of urban space brought
upon by postmodern geographers and other cross-disciplinary
advocates of spatial studies. I use the term here to describe
the shared semiotic approach in contemporary art.
35. Tomás Ybarra-Frausto, Caras Vemos, Corazones No Sabemos
(Faces Seen, Hearts Unknown): The Human Landscape of
Mexican Migration ( Notre Dame, IN: Snite Museum,
University of Notre Dame, 2006), 6.
36. The fluid encounter between Chicano print culture and
underground music goes back to the 1960s, but found
particularly talented promoters in Richard Duardo, Diane
Gamboa, and Mark Vallen. See "An Iconography of
Pachucos/Cholos/Punks," in Noriega, Just Another Poster?
37. This proposal also brings to mind the postcolonial critiques
of ethnographic display in Coco Fusco and Guillermo Gómez-
Peña's performance "Couple in a Cage," and the installations
of Los Anthropolocos (Richard Lou and Robert Sanchez).
38. See Jennifer González, "Autotopographies," in Prosthetic
Territories: Politics and Hypertechnologies, ed. Gabe Brahm
and Mark Driscoll (Boulder, CO: Westview Press, 1995).
39. See, especially, the exhibition catalogues for Ceremony of
Memory: New Expressions in Spirituality among
Contemporary Hispanic Artists, curator Amalia Mesa-Bains
(Center for Contemporary Arts of Santa Fe, 1998), and
Revelaciones=Revelations: Hispanic Art of Evanescence,
curators Chon A. Noriega and José Piedra (Herbert F.
Johnson Museum of Art at Cornell University, 1993).
40. Rubén Ortiz-Torres, "Picture I.D!" panel presentation,
Foundation for Art Resources and Latinart.com, Los Angeles
Museum of Contemporary Art, November 11, 2004.
41. Romo, "Manifesto Shards,"n.p.
42. Artist's statement, www.revumbio.com.
43. Romo, "Manifesto Shards," n.p.
44. Marcos Sánchez-Tranquilino, "Murales del Movimiento:
Chicano Murals and the Discourses of Art and
Americanization," in Cockcroft and Barnet-Sánchez,
Signs from the Heart, 98.
45. See Daniel D. Arreola, "Mexican American Exterior Murals,"
Geographical Review 74, no. 4 (October 1984): 414.
46. See Holly Myers, "Freeways Divide and Connect: Ruben
Ochoa Explores the Politics of Concrete at LA>