Chicano Photographer (excerpt)

[Photo: César E, Chávez, 1970, by author. Click on image to enlarge. Below, an excerpt from the proposed book project Chicano Photographer.]

Becoming a Chicano Photographer

At eight years of age, I remember shuffling through a drawer where I found 35mm negatives my sister Dolores had hidden. I pulled them out and held them to the light. They looked like film strips used in elementary school projectors during the late 50s and early 60s. The celluloid miniatures held a certain mystery. How could you make a print from such a small negative? What made this transformation possible?

From this raw beginning, I pursued and acquired the many skills necessary to be a professional photographer, advancing from taking snapshots to exhibiting in galleries. My role as critical observer empowered me, but ascension was problematic. It required coursework, taking countless pictures and discovery. I learned how to previsualize, capture, store, and distribute my art.

Through photography I explored the dynamic Chicano culture of the 70s. During this period, Chicanos struggled to enter the American mainstream while retaining their identity. Previously, Chicanos, Mexican-Americans, or Hispanics were known as the silent minority. In the 70s, I became part of a new, loud, and proud chorus.

I consider myself a Chicano photographer. But what is a Chicano photographer? Is it someone who only specializes in photographing Chicano subjects? What is Chicano subject matter anyway? It’s all very confusing. Should I be photographing stereotypical Chicano imagery?

I have gone to dozens of exhibits of Chicano artists. They can easily be divided into two categories. One large group consists of the Frida Kahlo wannabees. The second category is resplendent with independent thinkers. Both are valid.

Frida’s legacy is manifest in the work of many contemporary artists. Frida will never die as long as dozens emulate her. This genre contains at least one of the following naiveté representations; the maguey, sacred heart, Virgen de Guadalupe, a struggling woman, roses and such. When I enter an exhibition and discover examples of this formulaic work — I always have the refreshments to look forward to.

I consider myself in the latter category — an independent thinker. I am not limited to preconceived notions of Chicano art. Chicano art is a hybrid of the Mexican and American experience. That experience is constantly evolving. It’s also nuanced by region, gender and other variables. Personally, I have used my camera to explore the Chicano Movement, Americana, models, and much more. Yes, I have also photographed representations of the Virgen de Guadalupe.

I am a Chicano — and proud of it. Please don’t call me Hispanic. I am also a trained photographer. When all is said and done, I identify as a Chicano Photographer.

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