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Malaquías Montoya

August 26, 2023

Malaquías Montoya is an American born Chicano poster artist and a major figure in the Chicano Art Movement of the 1960s and 1970s.

Malaquías Montoya
Born1938
Albuquerque, New Mexico
NationalityAmerican
EducationUniversity of California, Berkeley
Known fordrawing, painting, murals and silkscreen
AwardsAdaline Kent Award from the San Francisco Art Institute 1997. Special Congressional Recognition, Awarded by Congressman Mike Thompson in recognition of outstanding and invaluable service to the community, Woodland, California 2005.

Early life and teaching Edit

Montoya was born in Albuquerque, New Mexico.[1] He was raised by a single mother in a family of migrant farm workers (including brother, José Montoya) in California's Central Valley. He joined the U.S. Marines and through the G.I. Bill was able to attend the University of California at Berkeley.[2] In 1968, Montoya founded the Mexican-American Liberation Art Front and was "arguably the most influential Chicano artist collective in the movement".[3]

Since then he has taught at University of California, Berkeley, Stanford University, California College of Arts and Crafts, University of Notre Dame, and University of Texas, San Antonio. Since 1989 Montoya has held a professorship at the University of California, Davis, teaching both in the department of Art and the department of Chicana/o Studies.[1]

Art works Edit

Montoya is known for incorporating social justice themes in his work. In 2006 he completed a series of paintings and screenprints on the death penalty which referenced those killed by the death penalty from Ethel and Julius Rosenberg,[4] to Jesus Christ. Other themes include immigration, the zapatista movement, Palestine, and others.

Montoya has produced substantial work on the issue of immigration. He produced the print “Immigrant’s Dream (2004)” which shows a faceless figure covered completely in the American flag with serves as a bag with a tag labeled “undocumented.”[5] This print presented the horrific reality of what becomes of the coveted American Dream. Another print titled, “Undocumented” includes a man trapped in barbed wire with the word undocumented written in red with blood dripping across his body.[6] The barbed wire is representative of the physical barrier of the US Mexico Border migrants encounter when crossing the border. In addition the captivity of the man within the barbed wire is metaphorical for the emotional suffering due to migration. Montoya’s art is evident of social justice themes that expose the realities of marginalized communities that can make people uncomfortable.[7]

Activism Edit

Montoya’s activism was shaped by his exposure to the Chicano movement which incorporated ideals of resistance and cultural affirmation. This movement had an emphasis on civil rights for Mexican Americans and raising political, economic, and social consciousness.[8] He became part of the Mexican American Student Confederation (MASC) and produced leaflets and posters to empower the community and raise awareness about the cause. He demonstrated solidarity with fellow activists by distributing UFW buttons and bumper stickers. Moreover, he participated in MASC sit ins which were organized to demand University of California, Berkeley to include a Mexican American Studies course of study and requested that the administration demonstrate solidarity with the UFW’s grape boycott.[9]

At Berkeley, Montoya was actively involved with advocacy organizations by contributing art to their mobilization efforts. He continued his poster making collaboration with the UFW in Berkeley. One of his famous works for the UFW was the poster with a central message of “Support the Farmworkers War” asking for donations of food and clothing. The color palette includes bold colors such as red, black, and yellow and bold lettering with the intention of demanding attention to support the labor movement which is referred to as a war effort. The inverted Aztec eagle (UFW logo) is covering three faceless and barely identifiable figures.[10] In his UFW poster, he represented the farmworker families as advocating for their rights to frame the discourse on the struggle of marginalized communities. Montoya was also linked to the Third World Liberation Front (TWLF) advocacy efforts seeking to establish a separate Third World College that would enhance representation for minorities including African Americans, Chicanos, Asians, and Native Americans.[11] His involvement in the TWLF provided an invaluable perspective on mobilization such as learning about “coalition politics” which conveyed that collaboration between groups with overlapping interests could be a powerful force to enact change.[12] There was an emphasis on the shared struggle which he sought to include in his posters of mobilization. In this wide array of posters, he used the terms “Huelga” (strike) to emphasize the resistance and would use "Unidos" to suggest a form of solidarity between various disenfranchised groups. In addition, his TWLF posters include faceless or unrecognizable figures to suggest that this is a collective fight against power. His time at Berkeley shaped him as an artist as he began to merge politics with aesthetics with the intention of participating in activism at the local and international level.

References Edit

  1. ^ a b Acuna, Rodolfo F. (2011). The Making of Chicana/o Studies: In the Trenches of Academe. New Brunswick: Rutgers University Press. p. 104. ISBN 9780813550701.
  2. ^ Selz, Peter Howard (2005). Art of Engagement: Visual Politics in California and Beyond. University of California Press. p. 176. ISBN 978-0-520-24053-7.
  3. ^ Malaquías Montoya
  4. ^ Malaquias Montoya
  5. ^ "An Immigrant's Dream, The American Response". Galería sin Fronteras. 2014-09-15. Retrieved 2020-05-05.
  6. ^ "Malaquias Montoya | Smithsonian American Art Museum". americanart.si.edu. Retrieved 2020-05-05.
  7. ^ ""What better function for art at this time than as a voice for the voiceless": The Work of Chicano Artist Malaquías Montoya". NACLA. Retrieved 2020-05-05.
  8. ^ Martin, Sam (August 28, 1998). "Art Fights the Power". www.austinchronicle.com. Retrieved 2020-05-05.
  9. ^ Romo, Terezita (2011). Malaquias Montoya. UCLA Chicano Studies Research Center Press. p. 32.
  10. ^ "Giving a Voice to the Voiceless: Malaquias Montoya, Renowned Artist | The Bottom Line". Retrieved 2020-05-05.
  11. ^ Delgado, Manuel Ruben. The last Chicano: a Mexican American experience. ISBN 978-1-4490-1414-8. OCLC 502160841.
  12. ^ Romo, Terezita (2011). Malaquias Montoya. UCLA Chicano Studies Research Center Press. p. 35.

External links Edit

 
Wikiquote has quotations related to Malaquías Montoya.

August 26, 2023
malaquías, montoya, american, born, chicano, poster, artist, major, figure, chicano, movement, 1960s, 1970s, born1938albuquerque, mexiconationalityamericaneducationuniversity, california, berkeleyknown, fordrawing, painting, murals, silkscreenawardsadaline, ke. Malaquias Montoya is an American born Chicano poster artist and a major figure in the Chicano Art Movement of the 1960s and 1970s Malaquias MontoyaBorn1938Albuquerque New MexicoNationalityAmericanEducationUniversity of California BerkeleyKnown fordrawing painting murals and silkscreenAwardsAdaline Kent Award from the San Francisco Art Institute 1997 Special Congressional Recognition Awarded by Congressman Mike Thompson in recognition of outstanding and invaluable service to the community Woodland California 2005 Contents 1 Early life and teaching 2 Art works 3 Activism 4 References 5 External linksEarly life and teaching EditMontoya was born in Albuquerque New Mexico 1 He was raised by a single mother in a family of migrant farm workers including brother Jose Montoya in California s Central Valley He joined the U S Marines and through the G I Bill was able to attend the University of California at Berkeley 2 In 1968 Montoya founded the Mexican American Liberation Art Front and was arguably the most influential Chicano artist collective in the movement 3 Since then he has taught at University of California Berkeley Stanford University California College of Arts and Crafts University of Notre Dame and University of Texas San Antonio Since 1989 Montoya has held a professorship at the University of California Davis teaching both in the department of Art and the department of Chicana o Studies 1 Art works EditMontoya is known for incorporating social justice themes in his work In 2006 he completed a series of paintings and screenprints on the death penalty which referenced those killed by the death penalty from Ethel and Julius Rosenberg 4 to Jesus Christ Other themes include immigration the zapatista movement Palestine and others Montoya has produced substantial work on the issue of immigration He produced the print Immigrant s Dream 2004 which shows a faceless figure covered completely in the American flag with serves as a bag with a tag labeled undocumented 5 This print presented the horrific reality of what becomes of the coveted American Dream Another print titled Undocumented includes a man trapped in barbed wire with the word undocumented written in red with blood dripping across his body 6 The barbed wire is representative of the physical barrier of the US Mexico Border migrants encounter when crossing the border In addition the captivity of the man within the barbed wire is metaphorical for the emotional suffering due to migration Montoya s art is evident of social justice themes that expose the realities of marginalized communities that can make people uncomfortable 7 Activism EditMontoya s activism was shaped by his exposure to the Chicano movement which incorporated ideals of resistance and cultural affirmation This movement had an emphasis on civil rights for Mexican Americans and raising political economic and social consciousness 8 He became part of the Mexican American Student Confederation MASC and produced leaflets and posters to empower the community and raise awareness about the cause He demonstrated solidarity with fellow activists by distributing UFW buttons and bumper stickers Moreover he participated in MASC sit ins which were organized to demand University of California Berkeley to include a Mexican American Studies course of study and requested that the administration demonstrate solidarity with the UFW s grape boycott 9 At Berkeley Montoya was actively involved with advocacy organizations by contributing art to their mobilization efforts He continued his poster making collaboration with the UFW in Berkeley One of his famous works for the UFW was the poster with a central message of Support the Farmworkers War asking for donations of food and clothing The color palette includes bold colors such as red black and yellow and bold lettering with the intention of demanding attention to support the labor movement which is referred to as a war effort The inverted Aztec eagle UFW logo is covering three faceless and barely identifiable figures 10 In his UFW poster he represented the farmworker families as advocating for their rights to frame the discourse on the struggle of marginalized communities Montoya was also linked to the Third World Liberation Front TWLF advocacy efforts seeking to establish a separate Third World College that would enhance representation for minorities including African Americans Chicanos Asians and Native Americans 11 His involvement in the TWLF provided an invaluable perspective on mobilization such as learning about coalition politics which conveyed that collaboration between groups with overlapping interests could be a powerful force to enact change 12 There was an emphasis on the shared struggle which he sought to include in his posters of mobilization In this wide array of posters he used the terms Huelga strike to emphasize the resistance and would use Unidos to suggest a form of solidarity between various disenfranchised groups In addition his TWLF posters include faceless or unrecognizable figures to suggest that this is a collective fight against power His time at Berkeley shaped him as an artist as he began to merge politics with aesthetics with the intention of participating in activism at the local and international level References Edit a b Acuna Rodolfo F 2011 The Making of Chicana o Studies In the Trenches of Academe New Brunswick Rutgers University Press p 104 ISBN 9780813550701 Selz Peter Howard 2005 Art of Engagement Visual Politics in California and Beyond University of California Press p 176 ISBN 978 0 520 24053 7 Malaquias Montoya Malaquias Montoya An Immigrant s Dream The American Response Galeria sin Fronteras 2014 09 15 Retrieved 2020 05 05 Malaquias Montoya Smithsonian American Art Museum americanart si edu Retrieved 2020 05 05 What better function for art at this time than as a voice for the voiceless The Work of Chicano Artist Malaquias Montoya NACLA Retrieved 2020 05 05 Martin Sam August 28 1998 Art Fights the Power www austinchronicle com Retrieved 2020 05 05 Romo Terezita 2011 Malaquias Montoya UCLA Chicano Studies Research Center Press p 32 Giving a Voice to the Voiceless Malaquias Montoya Renowned Artist The Bottom Line Retrieved 2020 05 05 Delgado Manuel Ruben The last Chicano a Mexican American experience ISBN 978 1 4490 1414 8 OCLC 502160841 Romo Terezita 2011 Malaquias Montoya UCLA Chicano Studies Research Center Press p 35 External links Edit Wikiquote has quotations related to Malaquias Montoya Malaquias Montoya Official Website Montoya at Galeria de la Raza Retrieved from https en wikipedia org w index php title Malaquias Montoya amp oldid 1096643912, wikipedia, wiki, book, books, library,

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