Essay: Chicano Poster Production

Sample Essay

California is one state which is incomparable in terms of scale, intricacy, and variety of Chicano poster production. Even after the decades have passed by after the Chicano civil rights movement, the art being produced on posters is distinct and reflects individuality. The Chicano poster has progressively taken its course from political device to a creation of art since the 80s as all artists have now realized that sale proceeds and reproduction fees of the posters can help them support their needs financially.

Even with the radically altering communal, political and technical background, Chicano artists carry on to find the poster an active and powerful means for individual and common expression[1].

The most significant of attempts accomplished of Chicano paintings in 1970 was in Seattle in lieu of the University of Washington. Despite the fact that Seattle did not have creative constituents of globalization in the Southwest, Daniel Desiga and Emilio Aguayo, who were localized creative individuals were discovered to be the two of the most differentiated Chicano creative individuals as reflected by their attachments to creative collectives in California and the Southwest for example the Rebel Chicano Art Front (RCAF), a Sacramento-settled artists’ collective that assisted as a foremost connection between Movimiento art in the Pacific Northwest and California. From RCAF, seasoned creative individuals assisted as mentors for juvenile Chicano creative individuals and furthermore made three Pacific Northwest murals in the Northwest[2].

[1] Keller, 31

[2] Keller, 31

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