New Mexico

by Andrew Parks

art

Cheech & Chong's overstuffed bong and the Christ-like image of Che Guevara are the extent of Chicano imagery in the white, middle-class American psyche. And despite what kids with Rage Against the Machine posters may think, the latter was a Cuban, not a Mexican, revolutionary.

Such uninformed assimilation leads us to "Visiones from Postmodern Aztln," an exhibit that thoroughly explores the blurred divide between popular culture north and south of the border. More specifically, the theme invokes a little-known idea from Mexican mythology: that of Aztln, a romanticized view of the United States as some magical, utopian land, not unlike the optimistic view of European immigrants as they waved at the Statue of Liberty on the way to low-paying jobs and poverty.

The show is shared among four local artists and 39 silk-screen paintings from Self-Help Graphics (Los Angeles, Calif.) and Coronado Studio (Austin, Texas). The inclusion of varying Chicano art (an inherently political term that relates to Mexican self-image) uncovers many underappreciated artists. Philadelphia's own Marta Snchez reveals her retablo paintings (traditional Mexican prayer art, reconfigured and cast on metal like still-life candlelight vigils) in an altar tribute to Mexican/gay rights activist Gloria Anzaldua. On the print side is Cruz Ortiz's Darling, a weathered portrait of varying yellow tones that could relate to a man's love of either Mexico or his wife. Finally, there are the pop-art approaches of Shizu Saldamando (Snapshot, which instills cultural cachet in Morrissey) and Favìanna Rodriguez (Margarita, a mix of Mexican gods and cartoon characters). As for Che and Cheech, they're nowhere to be found.

"Visiones from Postmodern Aztlán," through Oct. 2, Lorenzo Homar Gallery, 2721 N. Fifth St., 215-426-3311. www.tallerpr.org.