Yolanda López
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Yolanda López

Karen Mary Davalos

Table of Contents


Gronk

$24.95 paper
ISBN: 978-0-89551-110-2
ISBN 10: 0-89551-110-X

$60.00 cloth/jacket
ISBN: 978-0-89551-103-4
ISBN 10: 0-89551-103-7

 

The first book-length exploration of the prominent Mexican American visual artist’s career.

Chicana artist Yolanda López achieved international recognition for her groundbreaking and controversial Virgin of Guadalupe series of paintings (1975–78) in which she transformed the beloved icon in order to celebrate and sanctify ordinary Mexican and Mexican American women as hardworking, assertive, and vibrant. Born in San Diego, California, López formally trained as a painter but has since expanded into a variety of media, including installation, video, and slide presentations.

Karen Mary Davalos identifies the themes and concerns that unify the artist’s diverse body of work. At times playful, political, and feminist, López is unwavering in her commitment to representing the experiences of Mexican American women in the United States, confronting stereotypes about Latin Americans and challenging U.S. immigration policy.

“With its numerous reprints of Lopez’s most famous reinterpretations of la Virgen de Guadalupe, this book will no doubt spark interesting discussions around Chicanisma, sexuality and tradition.” —Colorlines

“Handsomely illustrated with historical documents and reproductions of the work.” —Choice

Karen Mary Davalos is associate professor of Chicano/a studies at Loyola Marymount University and the author of Exhibiting Mestizaje.

128 pages | 100 color photos | 6 1/2 x 9 1/2| 2009
A Ver Series

TABLE OF CONTENTS

Introduction     
                                                                              
From la frontera: Family and Courage in San Diego 
                      
In the trenches: The development of a political artist   
         
Finding a language: Deconstruction, Semiotics, & Social Change    
                                                       
Guadalupe as feminist proposal       
                                                    
Collecting and Exhibiting Mexicana as Disidentification            

Conclusion            

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