{"id":1344,"date":"2010-02-10T13:05:13","date_gmt":"2010-02-10T20:05:13","guid":{"rendered":"http:\/\/eltecolote.org\/content\/?p=1344"},"modified":"2010-04-27T10:47:58","modified_gmt":"2010-04-27T17:47:58","slug":"the-forefather-of-politcal-silk-screening-talks-art-education-and-the-chicano-identity","status":"publish","type":"post","link":"https:\/\/eltecolote.org\/content\/en\/the-forefather-of-politcal-silk-screening-talks-art-education-and-the-chicano-identity\/","title":{"rendered":"The forefather of political silk screening talks art, education and the Chicano identity"},"content":{"rendered":"
\"\"<\/a>
Malaquias Montoya at his studio with his work, \u201cEl Picket Sign,\u201d on display. Montoya has dedicated his life to informing and educating people to the art of protest, depicting the resistance and strength of humanity in the face of injustice and the necessity to unite behind the struggle.<\/figcaption><\/figure>\n

There is a message behind every silk-screen, poster and sketch he has created over the past 40 years as an artist and educator. They all reflect themes of injustice, resistance, strength and international struggle.<\/p>\n

\u201cWhen someone paints the color red- someone might see blood, others, beautiful red roses, a pizza splash – In the work that I do, I want to be as clear as possible with no misunderstanding,\u201d\u00a0said Malaquias Montoya, a Professor Emeritus University of California, Davis.<\/p>\n

His work has been showcased across the country, from universities to churches. He\u2019s considered the forbearer of serigraphy in Chicano art, silk-screen poster-making born in the mid-sixties that quickly became a popular medium of expression among progressives for its depictions of themes of social justice and politics.<\/p>\n

\u201cAs a Chicano artist I feel a responsibility that all my art should be a reflection of my political beliefs, \u2018an art of protest,\u201d he said.<\/p>\n

The impact of Montoya\u2019s work has reached thousands of activists involved in Filipino and Chicano grape strikes, the Third World Strike of 1969, and the seminal formation of the Mexican American Art Liberation Front (with members such as Galeria de la Raza Founder Ren\u00e9 Y\u00e1\u00f1ez). These people are among the few that used Montoya\u2019s body of work to grow their respective social justice movements.<\/p>\n

\u201cThis was a very exciting time for me, because I could speak about injustices through art, and be very eloquent about it,\u201d said Montoya, who later continued his studies at the University of California, Berkeley. \u201cThe Filipino grape strike joining with the farm worker strike in Delano- that was really exciting because All of a sudden- it was about us, it was about my parents, and the people I know\u201d.<\/p>\n

Art on the Line<\/strong><\/p>\n

\u201cAll of my work is inspired by my background as a farm worker and identifies with the working people,\u201d said Montoya. Born in Albuquerque, N.M., to a family of farm workers Montoya travelled between New Mexico and Fresno, Calif., depending on the seasons of harvest.<\/p>\n

He prefers to exhibit his work at schools or places accessible to people on the margins of society, rather than restricting his work to galleries and museums. Montoya explains that his work doesn\u2019t seek notoriety, but instead reflects the boundaries these people struggle to overcome; as well as his philosophy as an educator and his way of life \u2013 he considers this \u201cstudio time\u201d.<\/p>\n

\u201cThe biggest contradiction that artists have, is that they want to be known, famous artists within the (status quo).\u00a0 But the system is not going to let you talk (negatively) about them and make you famous. If your art is not selling, you have to make it palatable to the audience and pretty soon, you will be doing culture, exoticism and culture without politics \u2013it is acceptable, because it doesn\u2019t bother anyone \u2013 it doesn\u2019t challenge anyone \u2013 and I think that\u2019s one of the things we have to be aware of,\u201d Montoya added.<\/p>\n

According to Montoya, culture within any given society depends on the capacity of the members of that society to develop their potential,\u00a0according to Montoya. If the members of a society are not given the opportunity, democracy or culture is hard to establish.<\/p>\n

He points out with fire in his eye that youth should work to understand the work around them, and strive to interpret its machinations. \u201cThe more you know about the world, the bigger your vocabulary will become, and the more you have to speak\u201d.<\/p>\n

\u201cOur youth and so many of us are already in a prison, because of all the diversions we have. Yes, you can go to a rally \u2013 we live in society that allows you to be a revolutionary in the morning, and in the afternoon or evening, you can enjoy all the vices that all capitalism has to offer.\u00a0 Now that is a contradiction,\u201d he said.<\/p>\n

Shaping minds, a class at a time<\/strong><\/p>\n

After the Third World Strike of 1969, the UC Berkeley offered a position as a lecturer of Chicano Studies, an offer he accepted. He would later found Chicano Center\u2014a place that taught students to critically examine the context of American society in relation to Mexican history, culture and the politics affecting the Chicano community. He taught them how art could mobilize a community.<\/p>\n

Montoya would spend the next 40 years teaching at a number of institutions of higher learning such as the California College of Arts & Crafts, the University of Notre Dame, Stanford, and the UC Davis where he currently works as a professor of art.<\/p>\n

\u201cEveryday I\u2019d have 30-to-40 students, and it was my job to make them aware of the injustices happening\u2014and for someone who believes in social justice, it was a wonderful place to be,\u201d he said.<\/p>\n

The Fire Within<\/strong><\/p>\n

The drive behind Montoya\u2019s work is not monetary. He refuses to sell his work for a profit, most of the time he just gives it away. He profits from what he considers triumphs of the human spirit:\u00a0 letters from his students, teachers or chance encounters with admirers of his work.<\/p>\n

He tells a story of a man he met at an art exhibition at the Berkeley Art Center who was looking at a work he created for the San Quentin Prisoners Release in 1969, works of art dealing with the death penalty that occasionally tour in a show entitled \u201cPremeditated: Meditations on Capital Punishment, Recent Works by Malaquias Montoya.\u201d<\/p>\n

The man approached Montoya and told him what the piece meant to him, a story involving a stiff folded cardboard that was being passed around in prison.<\/p>\n

\u201cThat was a very, very moving moment for me,\u201d Montaya said.<\/p>\n

\u201cMy work addresses issues that are affecting all of us, especially those living in the margins. I want my work to be empowering, to be accusatory art. Accuse whoever is responsible for the crimes being committed,\u201d Montaya said of his work and what he wants it to convey. \u201c(But I don\u2019t just want to show) who is responsible, but how we can resolve the problem. You can\u2019t get all those things at one time. But you hope your artwork can move people, that they could want to change, and that they (can be given) the opportunity for change.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Malaquias Montoya, a Professor Emeritus University of California, Davis, has been showcased across the country, from universities to churches. He\u2019s considered the forbearer of serigraphy in Chicano art, silk-screen poster-making born in the mid-sixties that quickly became a popular medium of expression among progressives for its depictions of themes of social justice and politics<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"newspack_popups_has_disabled_popups":false,"newspack_featured_image_position":"","newspack_post_subtitle":"","newspack_article_summary_title":"Overview:","newspack_article_summary":"","newspack_hide_updated_date":false,"newspack_show_updated_date":false,"footnotes":""},"categories":[7],"tags":[156,159,6315,34,158,157,167],"coauthors":[18468],"class_list":["post-1344","post","type-post","status-publish","format-standard","hentry","category-news","tag-chicano","tag-delano","tag-education","tag-farm-workers","tag-malaquias-montoya","tag-silk-screen","tag-social-justice","entry"],"yoast_head":"\nThe forefather of political silk screening talks art, education and the Chicano identity - El Tecolote<\/title>\n<meta name=\"description\" content=\"Malaquias Montoya, a Professor Emeritus University of California, Davis, has been showcased across the country, from universities to churches. 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