User:Garcimarti/sandbox

Updated Broken/Incorrect Links
5 ^ "Xandra Ibarra performs "Nude Laughing" – Stanford Arts". Arts, Stanford University. 2017. Retrieved 2020-02-25.


 * 1)  https://anderson.stanford.edu/programs-exhibitions/performance-nude-laughing-by-xandra-ibarra/ 
 * 2) As of 2020, she is a senior lecturer at California College of the Arts (CCA) within the Critical Studies department. She previously worked as a lecturer at San Francisco State University within the Ethnic Studies department, and an activist within the prison abolition movement and community organizing for the anti-rape movement.
 * 3) As of Fall 2023, she received fellowships in residence at the Bemis Center for Contemporary Art. She previously worked as a senior lecturer at California College of the Arts (CCA) within the Critical Studies department.[5] and as a lecturer at San Francisco State University within the Ethnic Studies department, and an activist within the prison abolition movement and community organizing for the anti-rape movement.[6]
 * 4)  https://ppfp.ucop.edu/info/fellowship-recipients/fellows-2023/fellows-2023-name/ 

8 a b c d e f Ramos, Ivan. "Spic(y) Appropriation: The Gustatory Aesthetics of Xandra Ibarra (a.k.a. La Chica Boom)."ARARA- Art and Architecture in the Americas, no. 12, 2016 pp.1-18. www.essex.ac.uk/arthistory/research/pdfs/arara-issue-12/2.%20Spic(y)%20Appropriations.Ivan%20Ramos.pp.1-18.pdf. Accessed February 5, 2017.


 * 1)  https://www1.essex.ac.uk/arthistory/research/pdfs/arara-issue-12/2.%20Spic(y)%20Appropriations.Ivan%20Ramos.pp.1-18.pdf 
 * 2) Spictacles, a term coined by Ibarra, "mixed and repurpose traditional Mexican iconography alongside racist tropes within the erotic and sensual vocabulary of burlesque." One example of such a performance is La Tortillera, exhibited starting in 2004. "The performance consists of Ibarra in "traditional" colorful Mexican tortillera dress. Although she singles out the Mexican housewife stereotype, this is also the attire that high end or 'authentic' Mexican restaurants require of women who stand in panoptical view of their customers, assuring the tortilla's faux homemade authenticity. As the performance progresses, Ibarra sheds more and more items of clothing, in the tradition of burlesque, until she dons nothing but her pasties and a Tapatío bottle attached to a strap-on, which she then uses to cum on the tortilla before consuming it."Her work containing such burlesque imagery and expressions of historical characterizations often faces criticisms fron artistic institutions on the basis of obscenity. This is seen to be a central function of Ibarra’s work in which “These images, which are often rejected by mainstream Chicana/o politics as damaging, uncouth, and troubling, have rich history within racialized art in the United States and beyond. However, in using abjection as a strategy of resistance, Ibarra manages to upend the structures of power that aim to discipline the transnational Latina/o subject into a politics of respectability.”[8]

9 a b c Nelson, Kelly Merka. "The Gatekeepers: Furor Over Centro de Artes' Exhibition Raises Questions About How Much Say the City Has Over Arts Content". San Antonio Current. Retrieved 2020-04-03.


 * 1)  https://www.sacurrent.com/arts/the-gatekeepers-furor-over-centro-de-artes-exhibition-raises-questions-about-how-much-say-the-city-has-over-arts-content-23205064 
 * 2) The City funds the art space, Centro de Artes, and it spurred the debate on the role of public support within the arts and freedom of speech while sparking public speculation in the willingness of arts organizations to take public support in exchange for limitations on creative liberty.

18 a b Campbell, Andy. "The Year in Performance." Artforum: Artforum International Magazine, Dec. 2016, www.xandraibarra.com/artforum2016/. Accessed 22 Mar 2017.


 * 1)  https://www.artforum.com/columns/the-year-in-performance-2-231665/ 
 * 2) The term ecdysis means to shed, molt, it comes from Ancient Greek: ἐκδύω (ekduo), "to take off, strip off." She captures the symbolic process of shedding the skin of a cockroach by laying next to costumes of her former persona La Chica Boom.

Nothing lower than I (2022)
Xandra Ibarra's Nothing Lower Than I is an archival exploration of Los Angeles subcultures at the end of the 20th century through the works of Bob Flanagan and Sheree Rose. The exhibit contains sculptures and visuals depicting care, subordination, sadomasochism and disability. In a 2022 artist talk for the exhibit Ibarra highlighted her focus on materials seen as ubiquitous in fetish communities in order to invoke a familiarity with countercultural roughness as a protective measure.

She’s on the Rag (2016)
'''Collections of Ibarra’s menstrual emissions as abstract shapes formed and sold for interpretation. Ibarra’s menstrual Rorschach tests as performances of withholding and opacity. “Insisting on bodily presence without presenting her body, Ibarra complicates expectations of what constitutes interiority while enabling a queer form of camp to emerge. In León’s words, she finds a way ‘to expose her interiority and yield it as radically opaque.’” The work directly challenges the often tabooed sentiment  surrounding fertility and menstruation.'''

Inventory of Exhaustion (2016)
'''This collection is a case study of Ibarra’s exhaustion with the performing arts. The work consists of “‘vacuum-sealed costumes’ photographed to capture the sheen of the clear plastic rectangular encasing holding them, each a “Spic Skin” of performance labeled by the artist: ‘Cucaracha,’ ‘Mambo’ ‘Cortez,’ and ‘Virgin’.” The wardrobe selections hail from various La Chica Boom “spictacle” performances including the Guadalupe of Virgensota Jota, the Tortillera, and those featured in Spic in Ecdysis. The work acts as a timeline of Ibarra’s artistic and performance career while simultaneously capturing her subjection and frustration in being an artist.'''

Turnaround Sidepiece (2018)
'''A silent outdoor video art piece capturing Ibarra in nature. Ibarra who is naked except for a pair of sneakers moves on an actively rotating, two-tiered marble rock sculpture. Ibarra continuously adjusting the position of her body from one pose to another while never facing the camera. The intended narrative of the work has been analyzed as “The erotic display of Ibarra may look like a nude woman made for a voyeur to gain sexual pleasure or gratification from watching her; gradually though, through the hypnotic effect of the sculpture’s spinning, what initially looks like an exhibition of Ibarra’s nude body for the. viewer, becomes a nuanced, naked repertoire of images — a female figure posing again and again.”'''

Nude Laughing (2014, 2016)
Xandra Ibarra performed Nude Laughing first at the Asian Art Museum (San Francisco) in 2014 and then at The Broad museum in Los Angeles in 2016, where she walks nude while laughing throughout the museum, dragging a nylon sac with paradigmatic "white lady accoutrements".[14][15] '''The performance culminates in Ibarra struggling with a wig-filled nylon blending the two all the while she appears to shout or laugh ecstatically. It is analyzed that “Ibarra’s wrapping of herself in an alternate skin multiplies and confuses racial signification. She conceals her own skin with a skin made of nylon; nylon meant to be invisible on ‘white lady’ skin is distinctly visible in its difference from Ibarra’s own skin color.''' Through this performance, Ibarra uses nudity and the sonic quality of laughter to explore the "vexed relation racialized subjects have to not only one's own skin, but also one's own entanglements and knots (skeins) with whiteness and white womanhood."[7][14] The piece is inspired from John Currin's 1998 painting titled "Laughing Nude," which features a nude white woman with her face caught in the middle of maniacal laughter that blurs the erotic with the grotesque.[14] In an email to The Huffington Post, Ibarra explains, "I want to capture what I can of these white nudes in my brown figure and skin and enact a union between sound and gesture that can't be captured within a painting."[14] She aims to bring the nudes to life in what she describes as the "wrong" body, enhancing the grotesque, tactile, and expressive dimensions of how she imagines white womanhood.[7][14][15]

References

Adeyemi, K., Khubchandani, K., & Rivera-Servera, R. H. (2021). Queer Nightlife (K. Adeyemi, K. Khubchandani, & R. H. Rivera-Servera, Eds.). University of Michigan Press.

Amin, K., Musser, A.J., & Pérez, R. (2017). Queer Form: Aesthetics, Race, and the Violences of the Social. ASAP/Journal 2(2), 227-239. https://doi.org/10.1353/asa.2017.0031

Ellis Neyra, R. (2020). The Cry of the Senses: Listening to Latinx and Caribbean Poetics. Duke University Press.

Hannah Manshel (2017) Breathing material: Cassils and Xandra Ibarra in Los Angeles 2 April 2016, The Broad, Los Angeles, Women & Performance: a journal of feminist theory, 27:1, 137-141, DOI: 10.1080/0740770X.2017.1282100

Leticia Alvarado; To Have and to Hoard: Xandra Ibarra's Object Lessons. South Atlantic Quarterly 1 July 2023; 122 (3): 525–547. doi: https://doi.org/10.1215/00382876-10644015

Mathews, J. A. "Performing Iridescence: Attention, Nuance, and Ambiguity in Solo Performance." Order No. 29044079 Pratt Institute, 2020. United States -- New York: ProQuest. Web. 18 Dec. 2023.

Week 13A: Wikipedia Workshop Work
My experience editing Wikipedia was through my work in looking through an article for the artist Xandra Ibarra. My first look at what was logged about her work showed me a strong overview of the themes and mediums she explores through her work. In exploring what has previously been covered about Ibarra, I noticed a lack of focus on her sculpting work which I wanted to take a stab at attempting to begin to correct as it appears to be her most recent focus in her work.

Nothing lower than I (2022)
Xandra Ibarra's Nothing Lower Than I is an archival exploration of Los Angeles subcultures at the end of the 20th century through the works of Bob Flanagan and Sheree Rose. The exhibit contains sculptures and visuals depicting care, subordination, sadomasochism and disability. In a 2022 artist talk for the exhibit Ibarra highlighted her focus on materials seen as ubiquitous in fetish communities in order to invoke a familiarity with countercultural roughness as a protective measure.

External link
Exhibit: "Nothing Lower Than I" at Human Resources