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Chicano Art: Resistance and Affirmation (or CARA) was a traveling exhibit of Chicano/a artists which toured the United States from 1990 through 1993. CARA visited ten major cities and featured over 128 individual works by about 180 different Chicano/a artists. The show was also intended to visit Madrid and Mexico City. CARA was the first time a Chicano exhibit received major attention from the press and it was the first exhibit that collaborated between Chicanos and major museums in the U.S.〔 The show was considered a "notable event in the development of Chicano art." Another unique feature of CARA was the "extensive planning" that attempted to be as inclusive as possible and which took place more than five years prior to the opening at Wight Art Gallery.〔 The final touring exhibit included paintings, murals and installations.〔 Over forty murals were shown via slideshow.〔 The first section of the show contained a short history of Chicanos going back to the pre-Columbian era, discussing the concept of Aztlan and including significant events up until 1965.〔 The other areas of the exhibit were divided into themes that were representative of the Chicano movement: Feminist Visions, Reclaiming the Past, Regional Expressions and Redefining American Art. There were also three separate spaces devoted to the important Chicano collective arts movements, Asco, Los Four and the Royal Chicano Air Force.〔 Uniquely, at the time for an museum show, the art was shown in context with the history and politics of the Chicano movement. In addition, the art shown in the exhibit was "created by Chicanos for other Chicanos."〔 CARA's name is also a play on words since the Spanish word for face is ''cara''. == History == The CARA exhibit was created through the joint actions of the Wight Art Gallery at the University of California, Los Angeles (UCLA) and the CARA National Advisory Committee. These two groups started planning in 1984, but the idea for the exhibit began in 1983, when Cecelia Klein, Shifra Goldman, and several graduate students (Maria de Herrera, Holly Barnet-Sanchez and Marcos Sanchez-Tranquilino) asked the new director of the Wight Art Gallery, Edith Tonelli, about creating a unique Chicano art exhibit.〔 The Wight Art Gallery, with help from Klein and Goldman, applied for funds from the National Endowment for the Humanities (NEH). They were originally turned down because the word "Chicano" made some of the backers "uncomfortable."〔 Other topics addressed by CARA, such as a critical stance on American cultural politics and the "myth of the melting pot" also intimidated the NEH.〔 A second try for funds from the NEH took place in 1985 and the term Chicano was carefully explained and outlined.〔 This time, after "considerable debate," funds were granted in 1986.〔 The disbursement of funds took some time, however, because of controversy in Congress about censorship, funding the arts and the proposed defunding of programs.〔 Eventually the Rockefeller Foundation stepped in and helped during the initial planning process and the implementation phases of the project.〔 The project rejected the conventional structure of having a single curator for the art and chose instead to to collaborate on control of the art and administration.〔 Those involved with the project were very careful to work with the Chicano community so that Chicanos could speak for themselves, rather than having an institution impose upon them.〔〔 This later allowed the exhibit to become more than just an art show, but rather an "extension of the ongoing efforts of the Chicano Movement."〔 To ensure that Chicano voices were heard, a large committee of over 40 Chicano scholars, artists and administrators was recruited and broken up into various committees to oversee, select, design and create regional task forces.〔 An "ongoing process of negotiation" was status quo for the project. The exhibit opened at Wight Art Gallery on September 9, 1990. As the show toured, there were some unique ways to promote local interest. At the El Paso Museum of Art, there was a lowrider parade that initiated the opening of the show and in addition, there were several works in CARA that contained images of lowriders. The Albuquerque Museum of Art staged a lowrider car show on the opening day of the exhibit.〔 CARA closed after its last engagement, which was at the Museum of Art in San Antonio, Texas.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Chicano Art: Resistance and Affirmation」の詳細全文を読む スポンサード リンク
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