Ad Feminam: Martine Gutierrez and the Language of Advertising
DOI:
https://doi.org/10.37536/cr.2023.18.2873Palabras clave:
arte latino, arte chicano, activismo artístico, artistas latinos, Martine GutierrezResumen
Martine Gutiérrez (16 de abril de 1989, Berkeley, California) es una artista estadounidense de origen guatemalteco, mujer trans de ascendencia indígena maya y portada de obras de arte que pasan por anuncios publicitarios. A sus treinta y cuatro años, sus vallas publicitarias, anuncios en marquesinas de autobús y anuncios en revistas de moda han captado la atención de los principales medios de comunicación. Aunque a menudo se la califica de «artista latina», resulta sorprendente que los medios de comunicación nunca hablen de Gutiérrez en relación con otras artistas latinas/ex. En este artículo, sitúo a Gutiérrez dentro de un linaje de artistas-activistas latinas/x y chicanas/x, como Ester Hernández (n. 1944, Dinuba, CA) y Patssi Valdez (n. 1951, East Los Angeles, CA). Me baso en teóricos de la cultura, como Chela Sandoval, para considerar cómo las glamorosas adaptaciones de Gutiérrez de los medios de comunicación forman parte de una práctica liberadora en curso, que utiliza el arte para combatir la idealización de la blancura, criticar las normas de género y denunciar el racismo sistémico.
Citas
Alvarado, Leticia. “Introduction.” Abject Performances: Aesthetic Strategies in Latino Cultural Production. Duke University Press, 2018, pp. 1-24. JSTOR, https://www.jstor.or g/stable/j.ctv123x6z2.4.
Anzaldúa, Gloria. The Gloria Anzaldúa Reader. Duke University Press, 2009.
Bain, Rowan. “Ester Hernández: Sun Mad.” Art in Print 3, no. 6, 2014, pp. 28–29. JSTOR, https://www.jstor.org/stable/43045621.
Blackwell, Maylei. “Women Who Make Their Own Worlds: The Life and Work of Ester Hernández.” Chicana Movidas: New Narratives of Activism and Feminism in the Movement Era, edited by Dionne Espinoza et al. University of Texas Press, 2018, pp. 138-158. De Gruyter, https://doi. org/10.7560/315583.
Booth, Jessica. “Everything you need to know about Yalitza Aparicio from “Roma,” the first indigenous woman to be nominated for a best-actress Oscar.” Insider, 22 January 2019. https://www.insider.com/everythingneed-to-know-yalitza-aparicio-from-roma-2019- 1#she-was-also-thefirst-indigenous-mexican-actress-to-appear-on-the-cover-of-vogue- mexico-9.
Carter, Nicholas and Alyce de Carteret. “The Capped Body.” The Adorned Body: Mapping Ancient Maya Dress, edited by Nicholas Carter, Stephen D. Houston, and Franco D. Rossi, The University of Texas, 2020, pp. 51-68. De Gruyter, https://doi.org/10.7560/320 709.
Chavoya, C. Ondine, et al. Asco: Elite of the Obscure : A Retrospective, 19721987, edited by C. Ondine Chavoya et al. Hatje Cantz Verlag, 2011.
Chavoya, C. Ondine and David Evans Franz, eds. Axis Mundo: Queer Networks in Chicano L.A. New York: DelMonico Books, 2017.
Chow, Rey. Ethics after Idealism: Theory-Culture-Ethnicity-Reading. Indiana University Press, 1998.
Cortez, Jaime. “Everyday Passions: Ester Hernandez.” 9 August 2001. Finding Aid for the Ester Hernandez Papers 1972-2005. CSRC.0047, Box 1, Folder 4. UCLA Chicano Studies Research Center Library, Los Angeles, CA.
Dávila, Arlene. “Whitewashing at Work, and Some Ways Out.” Latinx Art: Artists, Markets, and Politics. Duke University Press, 2020, pp. 138167.
Durón, Maximilíano. “Study: Latino Art Underrepresented at College Art Association’s Annual Conference.” ARTnews, 20 September 2016. https:// www.artnews.com/artnews/news/study-latino-art- underrepresented-atcollege-art-associations-annual-conference-6992/.
Elser, Daniela. “‘I Had a Nervous Breakdown’: Sad Truth Behind Iconic Kate Moss Image.” New Zealand Herald, 9 November 2019. https://www. nzherald.co.nz/lifestyle/i-had-a- nervous-breakdown-sad-truth-behindiconic-kate-moss-image/LHSNVOEUNFH264L2D JPSD4M2Y4/.
Fernandez, Celia. “Ariel Nicholson makes history as the first transgender model on the cover of Vogue.” Insider, 6 August 2021. https://www.insider.com/ariel-nicholson-transgender- model-vogue-cover-2021-8.
Gabara, Esther. “Contesting Freedom.” Pop América 1965-1975, edited by Esther Gabara, Nasher Museum of Art at Duke University, 2018, pp. 10-19.
Galarte, Francisco J. “Introduction: Thinking Brown and Trans Together.” Brown Trans Figurations: Rethinking Race, Gender, and Sexuality in Chicanx/Latinx Studies. University of Texas Press, 2021, pp. 1-22. De Gruyter, https://doi.org/10.7560/322123.
Garcia, Edgar. “Demons.” Emergency: Reading the Popol Vuh in a Time of Crisis. The University of Chicago Press, 2022, pp. 49-64. De Gruyter, https://www.degruyter.com/document/doi/10.7208/chicago/ 9780226818610/html#contents.
Getsy, David J. and Che Gossett. “A Syllabus on Transgender and Nonbinary Methods for Art and Art History.” Art Journal 80, no. 4, Winter 2021, https://artjournal.collegeart.org/?p=16500.
Gutierrez, Martine. Interview by Houda Lazrak. International Studio & Curatorial Program, 3 March 2016, https://iscp-nyc.org/journal/ martine-gutierrez-on-her-first-billboard-jeans. Accessed 15 October 2021.
Halperin, Christina T., Zachary X. Hruby, and Ryan Mongelluzzo. “The Weight of Ritual: Classic Maya Jade Head Pendants in the Round.” Antiquity 92, no. 363, 2018, pp. 758-71. Cambridge Core, https://doi. org/10.15184/aqy.2018.65.
Herriman, Kat. “Martine Gutierrez Lets Heroines Loose on City Streets.” Cultured Magazine, 2 September 2021. https://www.culturedmag.com/ article/2021/09/01/martine-gutierrez-lets-heroines-loose-on-citystreets.
“Latinx Dissertations in Progress by Subject, 2020.” CAA.Reviews, http:// www.caareviews.org/dissertations/718/in_progress.
Lehner, Ace. “Trans Self-Imaging Praxis, Decolonizing Photography, and the Work of Alok Vaid-Menon.” Refract 2, no. 1, 2019, pp. 45–77. eScholarship, https://doi.org/10.5070/R7 2145857.
Lippard, Lucy. “Mixed Blessings.”1990. Finding Aid for the Ester Hernández Papers 1972-2005. CSRC.0047, Box 1, Folder 1. UCLA Chicano Studies Research Center Library, Los Angeles, CA.
McMahon, Marci. “Self-Fashioning through Glamour and Punk in East Los Angeles: Patssi Valdez in Asco’s Instant Mural and A La Mode.” Aztlán, vol. 36, no. 2, 2011, pp. 21–49. Ingenta Connect, https://www.ingentaconnect.com/content/csrc/aztlan/2011/00000036/00000002/ art00002#.
Mignolo, Walter. “Epistemic Disobedience and the Decolonial Option: A Manifesto.” Transmodernity: A Journal of Peripheral Cultural Production of the Luso-Hispanic World 1, no. 2, Fall 2011, pp. 44-66. eScholarship, https://doi.org/10.5070/T412011807.
Muñoz, Lorenza. "Patssi Valdez: Glamour and Chaos.” 1999. Patricia Correa Gallery Collection. UCLA Chicano Studies Research Center Library, Los Angeles, CA. 16 August 2022.
Pérez, Emma. The Decolonial Imaginary: Writing Chicanas into History. Indiana University Press, 1999.
Raymond, Claire. “Reclaiming History.” Photography and Resistance. Springer International Publishing AG, 2022, pp. 165–179. Springer Link, https://doi.org/10.1007/978-3-030-96158-9.
Rivera Fella, Nadia. “Searching for an Indigenous Fashion Star, Martine Gutierrez Casts Herself.” Aperture, 28 September 2020. https://aperture. org/editorial/martine-gutierrez- indigenous-woman/.
Romo, Terezita. Patssi Valdez: a Precarious Comfort = Una Comodidad Precaria, edited by Terezita Romo, The Mexican Museum, 1999.
Rosen, Miss “A Trans Latinx Artist's Incredible High-Fashion Self-Portraits.” Vice, 12 September 2018. https://www.vice.com/en/article/9kvaey/ martine-gutierrez-trans-latinx -artist-indigenous-fashion-photography.
Sandoval, Chela. Methodology of the Oppressed. University of Minnesota Press, 2000.
Scott, Andrea. “A Trans Latinx Artist’s High-fashion Critique of Colonialism.” The New Yorker, 20 October 2018. https://www.newyorker. com/culture/photo-booth/a-trans-latinx-artists -high-fashion-critiqueof-colonialism.
Sheets, Hillarie. “A Shape-Shifting Woman Who Plays All the Parts.” The New York Times, 13 August 2021, https://www.nytimes.com/2021/08/13/ arts/design/Martine-Gutierrez- bus-shelter-photos.html.
Simpson, Audra. “On Ethnographic Refusal: Indigeneity, ‘Voice’ and Colonial Citizenship.” Junctures 9, December 2007, pp. 67-80. https:// www.junctures.org/index.php/junctures/ article/view/66.
“South and Central American Indian Center Newsletter Vol. 2, No. 3.” Spring 1986. Finding Aid for the Ester Hernández Papers 1972-2005. CSRC.0047, Box 1, Folder 1. UCLA Chicano Studies Research Center Library, Los Angeles, CA.
“Sun Raid.” Smithsonian American Art Museum, https://americanart.si. edu/artwork/sun-raid 86376.
Tremain, Cara G. “A Multidisciplinary Approach to Ancient Maya Adornment and Costume: Mobilizing the Body and the Senses.” Totem: The University of Western Ontario Journal of Anthropology 19, no. 1, 2011, pp. 67-80. https://ojs.lib.uwo.ca/index.php/uwoja/article / view/8909/7103.
Tuhiwai Smith, Linda. “Introduction.” Decolonizing Methodologies: Research and Indigenous Peoples. Zed Books, 1999, pp. 1-18.
Velasco, David. “Project: Martine Gutierrez.” Artforum, vol. 57, no. 5, January 2019. https://www.artforum.com/print/201901/projectmartine-gutierrez-78007.
Yerebakan, Osman Can. “How Martine Gutierrez Turned Herself into Cleopatra, Mulan, and Other Historical Heroines for a Public Art Project in Bus Shelters Across the U.S.,” Artnet, 7 September 2021. https://news.artnet.com/art-world/martine-gutierrez-public-artfund-2004044.
Zavala, Adriana. “Latin@ Art at the Intersection.” Aztlán: A Journal of Chicano Studies 40, no. 1, 2015, pp. 125-140. Ingenta Connect, https://www.ingentaconnect.com/content/csrc/aztl an/2015/00000040/ 00000001/art00008.
Descargas
Publicado
Cómo citar
Número
Sección
Licencia
Derechos de autor 2025 Ezequiel Amador

Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.

