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How to Create a Family Art Wall Like Yolanda

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Mexican-American painter and activist (1942–2021)

Yolanda López
Yolanda M. López died 2021.jpeg
Born (1942-eleven-01)November 1, 1942

San Diego, California, U.S.
Died September 3, 2021(2021-09-03) (aged 78)

San Francisco, California, U.Due south.
Nationality American
Pedagogy San Diego Land University (BA)
University of California, San Diego (MFA)
Known for Painting, prints

Notable piece of work

 Reinterpretations of the Virgen de Guadalupe prototype, political poster "Who's the Illegal Alien, Pilgrim?"
Movement Bay Surface area Chicano art movement
Children Rio Yañez
Awards Ford Foundation and Mellon Foundation grant
2021 Latinx Artist Fellowship

Yolanda Margarita López (November i, 1942 – September 3, 2021) was an American painter, printmaker, educator, and movie producer. She was known for works focusing on the experiences of Mexican-American women, often challenging the ethnic stereotypes associated with them. Lopez was recognized for her series of paintings which re-imagined the image of the Virgen de Guadalupe.[1] [ii] Her work is held in several public collections including the Smithsonian American Art Museum, the San Francisco Museum of Modern Art, and the Los Angeles County Museum of Art.

Early life and education [edit]

Yolanda Margarita López was born on November 1, 1942, in San Diego, California,[3] to Margaret Franco and Mortimer López.[1] She was a third-generation Chicana.[4] [5] Her grandparents migrated from Mexico to the The states, crossing the Río Bravo river in a gunkhole while avoiding gunfire from the Texas Rangers.[six] López and her two younger siblings were raised by her mother and maternal grandparents in San Diego.[vii]

Later on graduating from high school in Logan Heights in San Diego, she moved to San Francisco and took courses at the Higher of Marin[1] and San Francisco Land University.[6] She became involved in a educatee movement chosen the Third Globe Liberation Front end,[half dozen] which shut down SFSU as a part of the Third World Liberation Front strikes of 1968[viii] She also became active in the arts.[4]

In 1969, López was instrumental in advertizement the case of Los Siete de la Raza, in which 7 immature Latin American youths were accused of killing a police officer. Serving every bit the groups artistic director, she designed the affiche "Free Los Siete," where the faces of these men are shown behind an inverted American flag that appears similar prison bars.[9] This poster was featured in the exhibition "¡Printing the Revolution!" at the Smithsonian American Art Museum, where curator Evelyn Carmen Ramos noted it had been "circulated at rallies and in newspapers, and galvanized the Mission District's Chicano and Latino community into a powerful social forcefulness with a noticeable presence in subsequent urban center politics."[9] [ten]

During the 1970s, López returned to San Diego, and enrolled at San Diego State University in 1971, graduating in 1975 with a Bachelor of Arts degree in painting and drawing. She then enrolled at the University of California, San Diego, receiving a Principal of Fine Arts in 1979.[11] [12] While at the University of California, San Diego, her professors Allan Sekula and Martha Rosler encouraged her to focus on conceptual practice with social, political, and educational touch.[13] [fourteen]

Career [edit]

López is recognized for her iconic series that reinterpreted the Virgen de Guadalupe through drawings, prints, collage, and paintings.[15] [16] The series, which depicted Mexican women (among them her grandmother, her mother, and López herself) with the mandorla and other Guadalupean attributes, attracted attention for sanctifying average Mexican women shown performing domestic and other forms of labor.[17] In her 1978 triptych of oil pastel drawings, López depicted herself clutching a snake while stepping on an angel, a symbol of the patriarchy.[18]

López created another set of prints with a similar theme entitled Woman'due south Piece of work is Never Done. 1 of the artworks for the set, The Nanny, addressed problems faced past immigrant women of Hispanic descent in the United states of america and was featured at the Institute of Contemporary Fine art San José.[thirteen]

Her famous political affiche titled Who'south the Illegal Alien, Pilgrim? features a human in an Aztec headdress and traditional jewelry belongings a crumpled-up paper titled "Immigration Plans."[19] This 1978 poster[20] was created during a period of political fence in the U.South. which resulted in the passage of the Immigration and Nationality Deed Amendments of 1978 that limited immigration from a unmarried land to xx,000 people per yr with a full cap of 290,000.[21]

López also curated exhibitions, including Cactus Hearts/Barbed Wire Dreams,[22] which featured works of fine art concerning immigration to the United States.[23] The exhibition debuted at the Galería de la Raza and later toured nationwide equally part of an exhibition chosen La Frontera/The Border: Fine art Most the Mexico/United States Border Experience.[24]

López produced two films: Images of Mexicans in the Media and When you Think of Mexico, which challenged the mode the mass media depicts Mexicans and other Latin Americans.[25] [26]

She served as Manager of Education at the Mission Cultural Heart for Latino Arts in San Francisco, and taught at Academy of California, Berkeley,[9] University of California San Diego,[5] Mills College, and Stanford Academy.[xiii]

López stated, "It is of import for the states to be visually literate; it is a survival skill. The media is what passes for culture in gimmicky U.Southward. order, and it is extremely powerful. It is crucial that nosotros systematically explore the cultural mis-definition of Mexicans and Latin Americans that is presented in the media."[5]

She was awarded a $50,000 fellowship from The Andrew West. Mellon Foundation and the Ford Foundation as part of their Latinx Artist Fellowship in 2021.[ane] A retrospective exhibition of Lopez work was scheduled to exist held at the Museum of Gimmicky Art San Diego in October 2021.[2] [27]

Artwork created past Lopez is in the collection of the Smithsonian American Art Museum.[2] Her artwork is held in the public collections of several museums including the San Francisco Museum of Modern Art[28] the Los Angeles County Museum of Art,[29] the Ulrich Museum of Art,[30] the De Immature Museum, and the Oakland Museum of California.[fourteen] [19]

Selected artwork [edit]

The Guadalupe serial [edit]

Beginning in 1978 and ending in 1988, López created a serial of images that reinterpreted the Virgen de Guadalupe. López earned recognition for the sieries which depicted people close to her as the Virgen de Guadalupe and reinvigorated the image into different forms. The artwork drew attention with the new, albeit controversial, depictions of the Virgen de Guadalupe.[17] [31] However, starting a controversy was not López's intention. In "American Women: Nifty lives from History", author Mary K. Trigg writes, "López'south formal didactics and burgeoning feminism contributed to her growing involvement in the politics of representation, resulting in work that progressively examined the social and cultural invisibility of women".[32] López wanted to depict the Virgen de Guadalupe in numerous ways in order to requite women, specifically those originating from Chicana civilisation, new forms of representation along with López's own comments on society. As Guisela Chiliad. Latorre argues, "[i]mages such every bit Ester Hernandez's 1976 etching Libertad depicting a young Chicana resculpting the Statue of Liberty to resemble a Maya carving, and Yolanda López'southward pastel drawings (1978) that depicted herself, her mother, and her grandmother in the role of the Virgin of Guadalupe were examples of early on Chicana art that placed women at the center of discourses on liberation and decolonization".[33]

The Virgen de Guadalupe [edit]

a traditional depiction of the Virgen de Guadalupe

López sought to draw the Virgen de Guadalupe in multiple ways due to the religious figures symbolic meaning. It is ane of the nigh recognizable religious figures in the world and one of the most important figures to the people of United mexican states. She is a symbol of beloved, organized religion, and identity.[34] Nonetheless, non all the symbolism could be perceived every bit purely positive; the Virgen de Guadalupe also symbolizes motherhood, virginity, and femininity, which López felt the demand to non just accost merely also critique in her work. In "Yolanda López: Breaking Chicana stereotypes", Betty Laduke observes that López stated: "I feel living, breathing women also deserve the respect and love lavished on Guadalupe... It is a call to look at women, hardworking, enduring and mundane, equally the heroines of our daily routine... We privately agonize and sometimes publicly speak out on the representation of us in the majority culture. Merely what near the portrayal of ourselves in our own culture? Who are our heroes, our role models?... It is unsafe for us to wait around for the dominant civilisation to define and validate what role models we should have."[32]

Traditional images of the Virgen de Guadalupe stress religious symbolic significant[35] primarily maternity, reinforcing gender roles.[36]López redesigned a powerful cultural icon in order to shift the observer's point of view by providing an alternative interpretation.[32] López expressed that in images of the original Virgin, she is "leap by the excess cloth around her legs that makes her immobile".[37]

The Artist as the Virgen of Guadalupe painting shows López herself running out of the motion-picture show frame, smiling with her running shoes every bit if competing in a race, wearing Mary's shawl as a cape, and jumping over the blood-red, white, and bluish angel, showing pride in her culture, and finally holding a ophidian to demonstrate the force she holds. López explained this imagery, proverb "[s]he holds the Guadalupe cloak like a greatcoat at the end of a race and jumps over the angel with red, white, and blue wings a symbol of the United States commercialism".[37] In "Yolanda López: Breaking Chicana Stereotypes" Laduke explains, "López not only commands her body but seems to predict her function as an artist who is not afraid of encountering social and political issues or using her skills to promote social change".[32] López is not agape to challenge society or to change what has been falsely represented in Mexican culture, through images of the Virgin Mary, and through images projecting how young women and mothers should look or behave a certain fashion. Through her fine art, López challenged her civilisation. Every bit Karen Mary Davalos, a scholar of Chicano studies, asserts, "López consistently confronts predominant modes of Latino and Latina representations, proposing new models of gender, racial, and cultural identity".[38] Regarding her intended viewer, López stated "Over the years as I take created my art, I take tried to address an audience, a Chicano audience, specifically a California Chicano audience".[39]

López'south Nuestra Madre (1981–88, acrylic and oil pigment on masonite), a portrait in the Virgin of Guadalupe series, shows a stone figure every bit the portrait of an aboriginal goddess. During the 16th-century, the Virgin of Guadalupe was seen as continued to the goddess Tonantzin,[forty] an ancient Aztec goddess the Mexican people worshiped in Tepeyac prior to the Castilian colonization of Mexico. Tonantzin was disguised so the Spaniards would retain her as a religious prototype acceptable to their imported religion of Roman Catholicism.[41] López removed the disguise of the Virgin of Guadalupe, placed on Tonantzin by the colonizers.[42] She sought to restore Mexican history and remind Chicano/as of their hidden past. In Lopez'southward revised image, the icon is seen as a protector and leader. Davalos explains, López's "intent was not to explore the Virgen de Guadalupe's divinity but to deconstruct the image 'to encounter how we present ourselves'. López's deconstruction of images of women such as the Virgen de Guadalupe was an effort to acknowledge the complex social and historical conditions that inform the experiences of Mexican and Mexican American women".[38]

¿A Donde Vas, Chicana? [edit]

While attention the University of California, San Diego, Lopez created the ¿A Donde Vas, Chicana?, Castilian for "Where are you going, Chicana?", Getting through College serial as part of her MFA exhibition in 1977.[15] The four by five feet sail painted with acrylic and oil portrays a toned Lopez as the runner jogging intensely across a college campus in a tank top and shorts with her hair pulled back.[32] She based this painting on her experience of running to go far shape and take control over her body.[32] In the journal article "Yolanda Lopez: Breaking Chicana Stereotypes", Betty LaDuke interviews Lopez and she informs united states of america that the serial was presented from the perspective of "a adult female calling on her body in an believing and physically disciplined manner as a ability ally.[32] She commented on the runner'south noteworthiness saying, "It is female person. It is Chicana. It is a self-portrait. The metaphor extends from the symbolic fortitude of women to the literal prototype of a Chicana's struggle in a formidable establishment."[32] Lopez compared a runner's "short-lived speed with women's psychological and concrete sustaining power of endurance" and stated that "Endurance is one of our greatest survival tools."[32]

Things I never told my son about being a Mexican [edit]

Things I never told my Son about beingness a Mexican was a featured as a piece in López'south exhibition Cactus Hearts/Barbed Wire Dreams in 1988.[43] The piece touches on identity, absorption, and cultural change;[44] it consists of 3-dimensional items including cactus cutouts and children's clothing attached to a big yellow backdrop with a zigzag border on the top and a barbed wire border on the bottom. The bottom text reads: "THINGS I NEVER TOLD MY SON Well-nigh BEING A MEXICAN". The piece of work'due south message ranges from embracing i'southward culture to addressing the oppression and discrimination faced in America, equally the two borders depicted in the artwork are suggestive of the literal borders between the Us and Mexico.[45] Information technology tin can also be continued to López's "culture shock" experience after going to college, where she realized that she knew nothing about her ain Mexican heritage or cultural history.[32]

Things I never told my son well-nigh existence a Mexican addressed her son, Río Yañez, who was 9 years old at the fourth dimension.[46] In the artwork, a textured and three dimensional mixed media collage, children'south clothes protrude from the warm yellow groundwork wall, with barbed wire depicted from an aerial perspective. Every bit Karen Mary Davalos, argues, "López intentionally selected these objects for their mundane or everyday quality and then that she could support her argument about the ubiquitous nature of stereotypical images. The images of sleeping Mexicans, grin señoritas, and dancing fruits and vegetables are made absurd through unexpected placement, juxtaposition, and repetition. Her work interrogates images of Mexicans and Chicanos, and it challenges not only the context in which fine art is displayed but likewise the assumptions virtually who should be invited into such elite spaces."[38]

Personal life [edit]

In 1978, López and conceptual creative person René Yañez moved to San Francisco's Mission District, and in 1980 she gave birth to Rio Yañez.[4] [47] A few years afterwards, López moved into the apartment adjacent door and maintained a professional relationship with Yañez.[four] Afterward 40 years of living in her domicile, in 2014, she and her family unit faced eviction through the Ellis Deed. In response, she created a series of "eviction garage sales" to annotate on problems of gentrification and cultural heritage in San Francisco.[11] According to the UCLA Chicano Studies Research Center Press (2009), "López's artwork aims to offering new possibilities for Chicanas and women of color living under weather condition of patriarchy, racism, and fabric inequality."[38] Her contributions to Chicana order and feminism are seen as significant.[two]

López died on September 3, 2021, in San Francisco, California, at the historic period of 78 due to cancer.[ane] [3]

Select exhibitions [edit]

  • 1993 – La Frontera / The Border: Art about the Mexico/U.s.a. Border Experience, Museum of Contemporary Art San Diego, San Diego, California[24]
  • 1997 – Mirror, Mirror... Gender Roles and the Historical Significance of Beauty, San Jose Institute of Gimmicky Art, San Jose, California[48]
  • 2008 – A Announcement of Immigration, group exhibition, National Museum of Mexican Fine art, Chicago, Illinois[49]
  • 2008 – Women's Work is Never Washed, solo exhibition, Mission Cultural Center for Latino Arts (MCCLA), San Francisco, California[50]
  • 2011 – Mex/L.A.:Mexican Modernisms in Los Angeles, 1930–1985, Museum of Latin American Fine art, Long Beach, California.[51]
  • 2017 – Here Now: Where We Stand, grouping exhibition, Mission Cultural Centre for Latino Arts (MCCLA), San Francisco, California[52]
  • 2017–18 – Radical Women: Latin American Art, 1960–1985, Hammer Museum, Los Angeles[53] and Brooklyn Museum, Brooklyn, New York.
  • 2021 – Portrait of the Artist, Museum of Contemporary Art San Diego, San Diego, California[54]

Meet likewise [edit]

  • Chicano fine art movement
  • Chicano Art: Resistance and Affirmation

References [edit]

  1. ^ a b c d e Daly, Clara-Sophia (September three, 2021). "Yolanda López, creative person who painted the iconic Virgen de Guadalupe series, dies at 79". Mission Local . Retrieved September 4, 2021. {{cite spider web}}: CS1 maint: url-status (link)
  2. ^ a b c d Vega, Priscella (September 5, 2021). "Yolanda López, Chicana artist known for la Virgen de Guadalupe serial, dies at 79". Los Angeles Times . Retrieved September eight, 2021. {{cite spider web}}: CS1 maint: url-status (link)
  3. ^ a b Finkel, Jori (September 18, 2021). "Yolanda López, Artist Who Celebrated Working-Class Women, Dies at 78". The New York Times. ISSN 0362-4331. Retrieved September nineteen, 2021.
  4. ^ a b c d "Shaping San Francisco". Shaping SF. 2014. Retrieved April 21, 2015.
  5. ^ a b c "Yolanda Lopez". UCSB Library. August 19, 2011. Retrieved March 9, 2018.
  6. ^ a b c Mirkin, Dina Comisarenco (April one, 2010). "Yolanda Yard. López (Book Review)". Adult female'southward Art Journal. 31 (1): 57–59. JSTOR 40605247.
  7. ^ Ruiz, Vicki L. (1998). From Out of the Shadows: Mexican Women in Twentieth Century America . New York City: Oxford University Printing. ISBN978-0-xix-513099-7. [ page needed ]
  8. ^ Grossberg, Adam; Muñoz, JoeBill (February 15, 2018). "New Documentary Looks Back At South.F. State Strike on 50th Anniversary". KQED . Retrieved June 10, 2019. {{cite web}}: CS1 maint: url-status (link)
  9. ^ a b c Durón, Maximilíano (September 8, 2021). "Yolanda López, Pioneering Chicana Artist Who Reclaimed the Virgen de Guadalupe, Is Dead at 79". ARTnews . Retrieved September 9, 2021. {{cite web}}: CS1 maint: url-status (link)
  10. ^ Rosen, Miss (September 27, 2017). "Groundbreaking Latin artists who aren't Frida Kahlo". Dazed . Retrieved September 5, 2021. {{cite web}}: CS1 maint: url-status (link)
  11. ^ a b Apron, Christian L. (June 24, 2014). "Mission creative person Yolanda López puts eviction on display". SFGATE.
  12. ^ LaDuke, Betty (1992). Women Artists Multi-Cultural Visions. New Jersey: The Red Ocean Press, Inc. pp. 103–112. ISBN978-0-932415-78-3.
  13. ^ a b c Fajardo-Hill, Cecilia; Giunta, Andrea (2017). Radical women : Latin American art, 1960–1985. Contributions by Rodrigo Alonso [and 13 others]. Los Angeles: Hammer Museum, University of California. ISBN9783791356808. OCLC 982089637. [ page needed ]
  14. ^ a b Parkos Arnall, Jan. "Radical Women: Latin American Art, 1960–1985: Yolanda López". Hammer Museum . Retrieved September 8, 2021. {{cite web}}: CS1 maint: url-status (link)
  15. ^ a b Veronica Alvarez; Theresa Soto (2009). Instructor's Guide For 'Yolanda M. López' (PDF). UCLA Chicano Studies Research Middle Printing. [ page needed ]
  16. ^ "Yolanda López: Portrait of the Artist". Museum of Gimmicky Art San Diego . Retrieved September ten, 2021.
  17. ^ a b Davalos, Karen Mary (2008). Yolanda M. López. Los Angeles: UCLA Chicano Studies Research Centre Printing. ISBN9780895511034. OCLC 236143155. [ page needed ]
  18. ^ Jackson, Carlos Francisco (2009). Chicana and Chicano Art: ProtestArte. Tucson: University of Arizona Press. p. 117. ISBN9780816526475.
  19. ^ a b "2010.54.6640 Yolanda K. Lopez creative person: Who'southward The Illegal Conflicting Pilgrim?". The Oakland Museum of California: Collections . Retrieved September 10, 2021. {{cite web}}: CS1 maint: url-status (link)
  20. ^ Lopez, Yolanda M. (Yolanda Margaret), 1942-. "Who's the Illegal Conflicting, Pilgrim?".
  21. ^ "Immigration Statistics: A Story of Neglect". books.nap.edu. 1985. p. twenty. Retrieved Apr 22, 2015.
  22. ^ "Calisphere: Cactus Hearts/Spinous Wire Dreams: Media Myths and Mexicans Exhibition". Calisphere . Retrieved June 10, 2019.
  23. ^ Sorell, V. A.; Baugh, Scott Fifty. (2015). Born of resistance : cara a cara encounters with Chicana/o visual culture. Tucson: The University of Arizona Printing. ISBN9780816532223. OCLC 927446609. [ page needed ]
  24. ^ a b Chávez, Patricio; Grynsztejn, Madeleine; Kanjo, Kathryn (1993). La Frontera = The border : art almost the Mexico/Usa edge experience. San Diego, CA: Centro Cultural de la Raza. p. 36. ISBN0934418411. OCLC 28916725.
  25. ^ Ruíz, Vicki; Sánchez Korrol, Virginia (2006). Latinas in the The states : a historical encyclopedia. Bloomington: Indiana University Press. ISBN0253111692. OCLC 74671044. [ folio needed ]
  26. ^ Hurtado, Aída (2020). Intersectional Chicana Feminisms: Sitios y Lenguas. Academy of Arizona Printing. pp. 103–104. ISBN9780816537617.
  27. ^ Langer, Emily (September 7, 2021). "Yolanda López, creative person who elevated Latina life, dies at 78". The Washington Mail . Retrieved September eight, 2021.
  28. ^ "Lopez, Yolanda". SFMOMA . Retrieved September 8, 2021.
  29. ^ "Yolanda M. López | LACMA Collections". collections.lacma.org . Retrieved September eight, 2021.
  30. ^ "Women'southward Work is Never Washed - Ulrich Museum of Art". Retrieved September 8, 2021.
  31. ^ Ponce, Mary Helen (December 12, 1999). "Celebrating Guadalupe, Sacred Icon of the People". Los Angeles Times.
  32. ^ a b c d e f g h i j LaDuke, Betty (1994). "Yolanda Lopez: Breaking Chicana Stereotypes". Feminist Studies. 20 (1): 117–130. doi:10.2307/3178436. JSTOR 3178436.
  33. ^ Latorre, Guisela M. (2007). "Chicana Art and Scholarship on the Interstices of Our Disciplines". Chicana/Latina Studies. 6 (two): 10–21. JSTOR 23014498.
  34. ^ Cooper, Wilbert L.; Larkin, Ximena N. (Dec 12, 2017). "How La Virgen de Guadalupe Became an Icon". Vice . Retrieved June 10, 2019.
  35. ^ Dupré, Judith (2010). Full of grace : encountering Mary in faith, fine art, and life (1st ed.). New York: Random Business firm. ISBN9780679643661. OCLC 698459090. [ page needed ]
  36. ^ Peterson, Jeanette Favrot (1992). "The Virgin of Guadalupe: Symbol of Conquest or Liberation?". Art Periodical. 51 (iv): 39–47. doi:10.2307/777283. JSTOR 777283.
  37. ^ a b "Radical Love: Yolanda López Reimagining la Virgen de Guadalupe". Joanna Garcia. November 27, 2016. Retrieved June vi, 2019.
  38. ^ a b c d Alvarez, Veronica; Soto, Theresa (2009). Instructor'southward Guide for Yolanda Thou. Lopez: A Ver: Revisioning Art History, Book ii. Excerpts from Karen Mary Davalos. University of California: UCLA Chicano Studies Research Eye Press, Regents of the University of California.
  39. ^ Ruíz, Vicki; Sánchez Korrol, Virginia (2006). Latinas in the United states : A Historical Encyclopedia. Gale Virtual Reference Library. Bloomington: Indiana University Press. ISBN9780253346803. [ page needed ]
  40. ^ Harrington, Patricia (1988). "Mother of Expiry, Mother of Rebirth: The Mexican Virgin of Guadalupe". Journal of the American University of Organized religion. LVI (1): 25–50. doi:ten.1093/jaarel/LVI.1.25. JSTOR 1464830.
  41. ^ Elenes, C. Alejandra (2011). Transforming borders : Chicana/o popular civilisation and pedagogy. Lexington Books. ISBN9780739147795. OCLC 995581316. [ page needed ]
  42. ^ Riding, Alan (February 21, 2016). "A Bloody Tale of How Mexico Went Catholic". Retrieved June 10, 2019.
  43. ^ "Calisphere: Things I Never Told My Son About Beingness A Mexican". Calisphere . Retrieved June 6, 2019.
  44. ^ "Feminist Artist: Yolanda López". Butterfly . Retrieved September four, 2019.
  45. ^ Markovitz, Jonathan (1994). "Blurring the Lines: Art on The Border". Postmodern Culture. 5 (1). doi:ten.1353/pmc.1994.0063. S2CID 144428619.
  46. ^ "What is the Vibrant Chicano Art All About ?". Widewalls . Retrieved June 6, 2019.
  47. ^ Davalos, Karen Mary (2008). Yolanda López. Minneapolis: Univ. of Minnesota Press. ISBN 9780895511102.[ page needed ]
  48. ^ "Guide to the Yolanda Thou. Lopez Papers CEMA 11". oac.cdlib.org . Retrieved September ix, 2021.
  49. ^ "A Declaration of Immigration". National Museum of Mexican Art . Retrieved January 16, 2019.
  50. ^ "'Women on War' Solo Mujeres 21st Annual Juried Exhibition and Yolanda Lopez's solo show 'Womens Work is Never Done'". www.sanjose.com. 2008. Retrieved January xvi, 2019.
  51. ^ "MEX/LA: Mexican modernism(s) in Los Angeles at the Museum of Latin American Fine art". artdaily.com . Retrieved Jan 16, 2019.
  52. ^ "Mission Cultural Heart for Latino Arts (MCCLA) Presents: 'Here Now: Where Nosotros Stand'". KPFA. April 24, 2017. Retrieved January 16, 2019.
  53. ^ "Alum Yolanda Lopez Featured in 'Radical Women: Latin American Art' Exhibit". College of Liberal & Artistic Arts, San Francisco State Academy. September 28, 2017. Retrieved January 16, 2019.
  54. ^ "Museum of Contemporary Art San Diego to Move Forward with Exhibition of Chicanx Artist Yolanda López". Art At present LA. July vii, 2020. Retrieved June nineteen, 2021.

External links [edit]

  • Alvarez, Veronica; Soto, Theresa (2009). "A Ver: Revisioning Art History Book ii" (PDF).

stevenswaystal84.blogspot.com

Source: https://en.wikipedia.org/wiki/Yolanda_L%C3%B3pez

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