{"id":47214,"date":"2021-02-11T20:47:54","date_gmt":"2021-02-12T04:47:54","guid":{"rendered":"http:\/\/eltecolote.org\/content\/?p=47214"},"modified":"2021-02-22T12:45:20","modified_gmt":"2021-02-22T20:45:20","slug":"a-monumental-reflection-of-community-pride-the-art-of-juan-r-fuentes-reaches-new-heights","status":"publish","type":"post","link":"https:\/\/eltecolote.org\/content\/en\/a-monumental-reflection-of-community-pride-the-art-of-juan-r-fuentes-reaches-new-heights\/","title":{"rendered":"A Monumental Reflection of Community Pride, the Art of Juan R. Fuentes Reaches New Heights"},"content":{"rendered":"\n

Ninety miles south of San Francisco, in the historical farming town of Watsonville, thousands of discarded pieces of tile are being repurposed to construct a monumental public work of art. Juan R. Fuentes, an artist deeply connected to the social and political movements of the last 50 years<\/a>, was selected to have four of his woodblock prints translated into mosaic murals for the massive \u201cWatsonville Brillante\u201d project.<\/p>\n\n\n\n

Each of Fuentes\u2019 illustrations is representative of a diverse, proud, local community, which is fitting for a town made up of 87 percent people of color. His high-impact, black and white images measure 1,200 square feet each and will provide the large vertical anchors for this project. Other local artists will be selected to create the vibrant colorful images that will be used for the horizontal sections of the mural. The final dimension of the entire project will be 12,500 square feet.<\/p>\n\n\n\n

 \u201cMayan Warrior,\u201d was the first to be installed. Community members, many of whom are children of migrant field workers, as well as some adults who are as old as 92, came together to work on the project. There is signage under the mural that lists all their names. <\/p>\n\n\n\n

\u201cIt\u2019s been an honor to have it done there [Watsonville] and have it done by these kids,\u201d Fuentes said. \u201cThat\u2019s pretty cool because it just extends something I created into something else; now they\u2019ve created and are a part of [this mural] . . . that\u2019s pretty special I think.\u201d<\/p>\n\n\n\n

Fuentes\u2019 illustrations are enlarged to match the full scale of the mural. They are printed out in sections and are laid out on tables. Community members break recycled tile and lay them out like a puzzle over the illustration with special tools. Once all the tile pieces are positioned, Rinaldi Tile & Marble, sets up their scaffolds and installs the mosaic murals free of charge.<\/a>  <\/p>\n\n\n\n

\"\"
Juan Fuentes and his family. Photo: Liz Lopez<\/figcaption><\/figure><\/div>\n\n\n\n

Fuentes\u2019 second installment, titled \u201cEn el Cielo,\u201d came with all the hurdles of creating during the COVID-19 pandemic, including limiting participants, maintaining distancing and wearing facemasks. Even with these setbacks, the project still remains on schedule.<\/p>\n\n\n\n

\u201cHermanita,\u201d the third installment, which has yet to be constructed, depicts a portrait of a Native American woman. The fourth has yet to be selected. <\/p>\n\n\n\n

\u201cAlready people are seeing that image [\u201cMayan Warrior\u201d] and reflecting themselves in it, their families in it, and I think that\u2019s really powerful.\u201d<\/p>\n\n\n\n

This five year, $1.5 million-dollar project is led by Kathleen Crocetti, local resident, artist, educator and the executive director of the Community Arts Empowerment organization that spearheads the \u201cWatsonville Brillante\u201d project. <\/a><\/p>\n\n\n\n

She said that when completed, the mosaic mural will be a representation of the numerous mixed heritages in Watsonville<\/a>, with each panel describing a different group and joining one family to another, as reported by Tony Nu\u00f1ez of The Pajaronian.<\/p>\n\n\n\n

Inspired by the work of architect Antoni Gaudi on a trip to Spain, Crocetti said she was determined to create a community based art project of grand scale in her own hometown.   <\/p>\n\n\n\n

She considers Fuentes to be a visionary. \u201cHe\u2019s amazing and it\u2019s important,\u201d Crocetti said. \u201cThat the artist that is featured is a native of Watsonville and he\u2019s an icon in the Chicano Arts Movement . . . we get to honor him and at the same time hold him up as an example for young artists who are up and coming.\u201d <\/p>\n\n\n\n

\u201cI\u2019m 70 years old,\u201d said Fuentes. \u201cSo you know a lot of times these things might happen but it\u2019s usually after you\u2019re gone that they might do something with your work or they might do a major show or something, but it\u2019s too late, you don\u2019t get to see it; whereas I\u2019m here and get to be a part of it and they [the community] get to be a part of it while I\u2019m here.\u201d<\/p>\n\n\n\n

Origins of an Artist<\/strong><\/p>\n\n\n\n

Originally from the American Southwest, Fuentes\u2019 parents moved the family to Watsonville in the 1950s. Alongside his family, Fuentes worked on the local farms and attended elementary and high school in Watsonville before moving to attend San Francisco State University.<\/p>\n\n\n\n

\"\"
Juan Fuentes stands in front of \u201cMayan Warrior,\u201d the first of his images to be installed as part of \u201cWatsonville Brillante\u201d mosaic mural project, Oct. 4, 2020. Photo: Liz Lopez <\/figcaption><\/figure><\/div>\n\n\n\n

As a new student walking through the hallways of SF State he serendipitously wandered into the art department, and just like that, with no prior art experience, he began his journey as an artist. <\/p>\n\n\n\n

Starting from the very beginning, he learned to draw and paint. As his skills progressed, his art evolved into a style of his own; much of which depicted his family and community. Although he became well versed in photo-realism, he was not as interested in drawing photo accurate pieces of art, as he was in telling a story.<\/p>\n\n\n\n

Not all his instructors saw value in his work. One instructor called his art \u201ctoo ethnic\u201d and another threatened to lower his grade based upon his cultural artistic choices and thus he learned early on that he would have to fight to make art his way. Embodying the empowerment of the social movements of the time, and the memory of his father resisting exploitation, he developed the confidence to stand up to the many faces of injustice. <\/p>\n\n\n\n

Woodblock printing, as with much of Fuentes\u2019 art, has ties to the fields of Watsonville. His family arrived in Watsonville during the time of the \u201cBracero Program,\u201d<\/a> which admitted millions of Mexican workers to temporarily work in the United States. The program was originally intended to be used during wartime shortages. Large American farm owners, who benefited from low-paid labor, lobbied Congress to allow the program to continue. For many of these braceros [laborers], their rights as legal guest workers were not protected and they were (and are) often exploited and underpaid.<\/p>\n\n\n\n

As a child, Fuentes was transfixed by the carvings the braceros made from wooden irrigation plugs. Like magic, a piece of wood was transformed into fanciful creatures.<\/p><\/blockquote>\n\n\n\n

As a child, Fuentes was transfixed by the carvings the braceros made from wooden irrigation plugs. Like magic, a piece of wood was transformed into fanciful creatures. This ignited something in him that laid dormant until the opportunity presented itself. As an adult, while teaching art at a local jail he proposed learning woodblock printing, so that he could teach that process to inmates and he continues to work in that medium till this day.<\/p>\n\n\n\n

Self-identified as a cultural activist, the essence of who Fuentes is and what he stands for is embedded in his art. For the majority of his life he has been a part of the political zeitgeist of the times.<\/p>\n\n\n\n

\u201cI could connect my art to the social movements; in particular the Chicano Movement,\u201d said Fuentes. \u201cThe Chicano Movement was going on at the same time that there was a Black Panther Party, there was a Brown Berets, there was an Asian American Movement and the American Indian Movement. I participated in those things on different levels and one of the ways that I could participate was through my art . . . I did a lot of posters.\u201d <\/p>\n\n\n\n

\"\"
Juan Fuentes and his grandchild, Koa. Photo: Liz Lopez\n<\/figcaption><\/figure><\/div>\n\n\n\n

Political activism requires posters, so over the decades his art has been associated with a multitude of social and political movements and groups. He created posters to bring attention to the revolutionary struggles in El Salvador and Nicaraguan, the Palestinian struggles of the 1970s, the first World Conference on Women that took place in Nairobi, Kenya and the plight of farm workers. He was a member of the Native American Defense Committee, an offshoot of the American Indian Movement, which did work around Native American political prisoners. And he volunteered at El Tecolote newspaper, and taught at City College, California College of the Arts in Oakland and at the San Francisco Art Institute.<\/p>\n\n\n\n

Fuentes says that his closest relationship to anything political was the plight of the farm workers.  \u201cI grew up in the farm labor camp. I could feel it. It was a struggle I felt deeply,\u201d he said.  <\/p>\n\n\n\n

Creating posters connected him to all the Chicano artists doing interesting things at that time, including the \u201cMujeres Muralistas,\u201d Mike Rios, Rupert Garcia and artists at Galer\u00eda de la Raza. He says it was a way to challenge the world of art, the galleries and the museums. \u201cWe weren\u2019t connected to those things; we weren\u2019t a part of that but we were a part of the community and community struggles and organizations. That made sense to me cause my art could fit there, my art could be something that people could relate to . . . and it was empowering to do that stuff.\u201d<\/p>\n\n\n\n

In response to the social upheaval of our time and the removal of racist monuments<\/a>, Fuentes replied, \u201c . . . more than enough time has past that those things should come down and the challenge is that our streets and our schools and everything are named after these people, so it\u2019s going to take time, but at least they\u2019re chipping away at it. I didn\u2019t think in my lifetime that would ever happen, but it\u2019s happening. <\/p>\n\n\n\n

\u201cPut them somewhere, put them in a museum, put them where people can say this is the way people used to think. These were the racist ideologies that permeated the country and this is what it was based on,\u201d Fuentes continued. \u201cIt\u2019s time to let them go; we don\u2019t need that stuff. I see that it can be replaced with another monument that really speaks to a broader culture of America, what America really represents.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Ninety miles south of San Francisco, in the historical farming town of Watsonville, thousands of discarded pieces of tile are being repurposed to construct a monumental public work of art. Juan R. Fuentes, an artist deeply connected to the social and political movements of the last 50 years, was selected to have four of his […]<\/p>\n","protected":false},"author":35,"featured_media":47184,"comment_status":"open","ping_status":"closed","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":[18660,18655,18666,18664,8849,12753,18657,18665,18658,18663,22,18667,18668,18661,226,18669,18662,18659,18656],"coauthors":[18445],"class_list":["post-47214","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-braceros","tag-chicano-arts-movement","tag-community-arts-empowerment","tag-galeria-de-la-raza-2","tag-juan-fuentes","tag-juan-r-fuentes","tag-kathleen-crocetti","tag-mike-rios","tag-mosaic","tag-mujeres-muralistas","tag-mural","tag-political-activism","tag-posters","tag-rinaldi-tile-marble","tag-rupert-garcia","tag-san-francisco-arts","tag-social-change","tag-tile","tag-watsonville-brillante","entry"],"yoast_head":"\nA Monumental Reflection of Community Pride, the Art of Juan R. 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