{"id":7125,"date":"2010-05-13T21:56:19","date_gmt":"2010-05-13T21:56:19","guid":{"rendered":"http:\/\/www.mixedracestudies.org\/wordpress\/?p=7125"},"modified":"2018-03-20T17:39:51","modified_gmt":"2018-03-20T17:39:51","slug":"ruben-trejo-beyond-boundaries-aztlan-y-mas-alla","status":"publish","type":"post","link":"https:\/\/mixedracestudies.org\/wp\/?p=7125","title":{"rendered":"Rub\u00e9n Trejo: Beyond Boundaries \/ Aztl\u00e1n y m\u00e1s all\u00e1"},"content":{"rendered":"

Rub\u00e9n Trejo: Beyond Boundaries \/ Aztl\u00e1n y m\u00e1s all\u00e1<\/a><\/em><\/strong><\/p>\n

University of Washington Press<\/a>
\nPublished with Northwest Museum of Arts and Culture
\nApril 2010
\n160 pages
\n110 color illus., notes, bibliog., 9 x 10 in
\nPaperback ISBN: 9780295990040<\/p>\n

Edited and Introduced by:<\/p>\n

Ben Mitchell<\/strong>, Senior Curator of Art
\nNorthwest Museum of Arts and Culture, Spokane, Washington<\/em><\/p>\n

Essays By:<\/p>\n

Tom\u00e1s Ybarra-Frausto<\/strong>, Former Professor of Spanish and Portuguese
\nStanford University
\n<\/em>Former Associate Director for Creativity and Culture
\nRockefeller Foundation<\/em><\/p>\n

John Keeble<\/strong>, Professor Emeritus
\nEastern Washington University<\/em><\/p>\n

\"\"<\/a><\/p>\n

“Multiple backgrounds can form such two- and three-dimensional ideas that they take you to the brink of lunacy, but I have used this rich background and ethnic landscape for creating art. As a student at the University of Minnesota, I often wondered what the study of Russian history, Shakespeare, English literature, or Freud . . . had to do with cleaning onions in Hollandale, Minnesota<\/a>, picking potatoes in Hoople, North Dakota, or visiting relatives in Michoac\u00e1n. This diversity of ideas can produce a three-headed monster or an artist, and I chose the latter.” –Rub\u00e9n Trejo<\/a><\/p><\/blockquote>\n

Rub\u00e9n Trejo: Beyond Boundaries \/ Aztl\u00e1n y m\u00e1s all\u00e1<\/em> is the first comprehensive survey of Trejo’s art and career. It focuses on more than fifty works from 1964 through the present, including pieces from his delightful life-size, puppet-like Clothes for Day of the Dead<\/em> series; works from the Calzones<\/em> series – cast bronze underwear and jalapenos – that challenge the Spanish machismo culture; seminal examples of his lifelong exploration of the cruciform image; and much more. The volume includes biographical and interpretive essays, as well as a chronology, list of exhibitions, and bibliography.<\/p>\n

Rub\u00e9n Trejo<\/a> (1937-2009) was born in a Chicago, Burlington and Quincy railroad<\/a> yard in St. Paul, Minnesota<\/a>, where his father, a mixed Tarascan<\/a> Indian and Hispanic from Michoac\u00e1n<\/a>, Mexico, and his mother, from Ixtlan<\/a> in the same Mexican province, had found a home for the family in a boxcar while his father worked for the railroad. Trejo became the first in his family to graduate from college, and in 1973 he moved to the Pacific Northwest<\/a>, where he began a thirty-year association with Eastern Washington University as teacher and artist.<\/p>\n

His isolation from major centers of Chicano<\/a> culture led him to search for self-identity through his art. Influenced and inspired by such writers and artists as Octavio Paz<\/a> and Guillermo G\u00f3mez-Pe\u00f1a<\/a>, he explored a dynamic, multidimensional worldview through his sculpture and mixed-media pieces and created a body of work that deftly limns his identity as an artist and a Chicano<\/a>. Throughout his long teaching career, he worked tirelessly to create opportunities for young Chicanos through tutoring and mentoring.<\/p>\n

Table of Contents<\/strong><\/p>\n