Reina de la Primavera, from Méchicano 1977 Calendario

Judithe Hernández, Reina de la Primavera, from Méchicano 1977 Calendario, 1976, screenprint on paper, sheet and image: 22 x 28 in. (55.9 x 71.1 cm), Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2012.53.6, © 1976, Judithe Hernández

Artwork Details

Title: Reina de la Primavera, from Méchicano 1977 Calendario
Artist: Judithe Hernández
Date: 1976
Location: Not on view
Dimensions: sheet and image: 22 x 28 in. (55.9 x 71.1 cm)
Copyright: © 1976, Judithe Hernández
Credit Line: Museum purchase through the Luisita L. and Franz H. Denghausen Endowment
Mediums Description: screenprint on paper
Classifications: Graphic Arts
Print
Object Number: 2012.53.6
Linked Open Data: https://edan.si.edu/saam/id/object/2012.53.6

Works by this artist (1 item)

Reina de la Primavera, from Méchicano 1977 Calendario

Artist

Judithe Hernández

Date1976

screenprint on paper

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This audio podcast series discusses artworks and themes in the exhibition Our America: The Latino Presence in American Art at the Smithsonian American Art Museum. In this episode, artist Judithe Hernandez discusses her work Reina de la Primavera.

JUDITH HERNANDEZ: My name is Judith Hernandez, and I am a Los Angeles-based artist whose career began 40 years ago, but it might be a little better than 40 years ago, as part of the Chicano civil rights movement in LA. It was a time that produced a tremendous amount of work that was principally made to support the agendas of the Chicano civil rights movement. There were galleries who lent a lot of support places like Self Help Graphics, the legendary Self Help Graphics, and there was also the Chicano Gallery, which was a smaller group of the independent artists who had formed a gallery under the leadership of Luna Castillo, who was also in the show, to produce silk screens that supported community events, political events that came to Los Angeles in the form of the issues of the farmworkers of several other Chicano political movements of the 1970s. This group, interestingly now in retrospect, was located in Highland Park, which is where I live now, and it was the forerunner of a lot of Chicano organizations that ultimately wound up having headquarters there in the 1970s and was a locus of a tremendous amount of talent who became very well-known artists.

One of the groups out of that area of Los Angeles was an artist collective known as Los Four. There were actually five of us. The four men got together first, and then I was added. I think I was the only member who was actually elected; the other guys just sort of formed the group, but it was an amazing time for me, especially as a woman. There were not very many women artists who were actively working as artists. To be associated you know with these very talented, mostly male counterparts is a very interesting situation to be in, but one of the things that the Chicano did was to produce a calendar that was I think a really brilliant combination of artists and images that finally came out for that year. The month I did was May, and it’s interesting enough you know back in the day that that particular face and style was something that I was doing. I was just out of Otis Art Institute. I got my MFA there in ’74, and ultimately the same image can be seen in a mural that I did at the Ramona Gardens Housing Project in East Los Angeles – the same central figure has that face, and surprisingly enough over 40 years later, that mural is still intact and in that neighborhood.

It was just a very exciting time. It was a highly charged political atmosphere kind of like you know what it is now for you to young people in their 20s – the Occupy movement and the Green movement. It was a time when you couldn’t avoid being politically involved, and so a lot of the art from that period, those four posters in particular that are here at the show, reflect the preoccupation that we had at the time. It actually was more than preoccupation it was our way of being involved with forwarding and supporting the political agenda of the Chicano civil rights movement.

As artists there really wasn’t much else we could do. What we did best was art, and so we did posters, we painted murals, we worked for Cesar Chavez, we did art for him. It was a time that produced a tremendous combination of images and techniques that were the beginning, I think, of Chicano art. At least it’s interesting now at my age to read back now in history books, they’re beginning to write about this, that suddenly you find out that you were you were part of the beginning of an American School of Art, so it seems so appropriate, and I’m so happy to to have been alive to see you know that recognition of this very exciting school of art and artists who worked in the ‘70s, and who continue to produce work. I’m still an active artist and still doing a lot of work, and it’s finally taking its rightful place in this amazing museum and historically and what is known as American art.

Exhibitions

Media - 2011.12 - SAAM-2011.12_1 - 77591

Our America: The Latino Presence in American Art

October 25, 2013–March 2, 2014

Smithsonian American Art Museum

Our America: The Latino Presence in American Art presents the rich and varied contributions of Latino artists in the United States since the mid-twentieth century, when the concept of a collective Latino identity began to emerge.