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Complicated business: Chicanos, muse...

Gonzales, Joseph Jason.

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Complicated business: Chicanos, museums, and corporate sponsorship.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Complicated business: Chicanos, museums, and corporate sponsorship./
作者:	Gonzales, Joseph Jason.
面頁冊數:	141 p.
附註:	Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3191.
Contained By:	Dissertation Abstracts International69-08A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3326333
ISBN:	9780549775386

Complicated business: Chicanos, museums, and corporate sponsorship.
Gonzales, Joseph Jason.

Complicated business: Chicanos, museums, and corporate sponsorship. - 141 p.

Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3191.

Thesis (Ph.D.)--Temple University, 2008.

This study examines the cultural politics in the making and national tour of Chicano, a project consisting of the tandem museum exhibitions Chicano Now: American Expressions and Chicano Visions: American Painters on the Verge, developed by BBH Exhibits, Inc. in collaboration with Cheech Marin and Chicano cultural workers, and presented by Target Corporation. Through the examination of the complicated business of commercial and institutional cultural production, I have sought to understand how Chicano cultural workers strategically negotiated their subjective and collective cultural, political, and economic interests by leveraging human, cultural, symbolic, and, material resources towards making corrective adjustments to the collective conditions of subjugation affecting Mexican-descent peoples within the dominant political and economic structures of late-capitalism.

ISBN: 9780549775386Subjects--Topical Terms:

735016
Anthropology, Cultural.

Complicated business: Chicanos, museums, and corporate sponsorship.
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520 $a This study examines the cultural politics in the making and national tour of Chicano, a project consisting of the tandem museum exhibitions Chicano Now: American Expressions and Chicano Visions: American Painters on the Verge, developed by BBH Exhibits, Inc. in collaboration with Cheech Marin and Chicano cultural workers, and presented by Target Corporation. Through the examination of the complicated business of commercial and institutional cultural production, I have sought to understand how Chicano cultural workers strategically negotiated their subjective and collective cultural, political, and economic interests by leveraging human, cultural, symbolic, and, material resources towards making corrective adjustments to the collective conditions of subjugation affecting Mexican-descent peoples within the dominant political and economic structures of late-capitalism.
520 $a Due to the extended nature of the project and the national dispersal of participants, work places, and exhibition sites, its study necessitated a long-term, multi-sited ethnographic research framework. The anthropology of cultural production, visual anthropology, and the anthropology of art, as well as, Chicano Studies, and Museum Studies inform my analysis. Within this scope I reveal and interpret the encounters amongst a disparate mixture of individuals and interests, and the colliding and coalescing of ideologies and cultural values that took place during Chicano's making and circulation. Social engagements within this cultural process were the causes and results of complicated cultural politics over which issues related to Chicano social identity, museum policy and practice, commercial and marketplace values, corporate sponsorship, and cultural commodity were negotiated. I contend Chicano and Mexican-descent cultural workers employed strategic, ethnically centered political ideologies and enactments in attempts to achieve individual and collective equality and affect more widespread progressive social transformation within the constraints of this mediated process. In this model, the exhibitions Chicano Now: American Expressions and Chicano Visions: American Painters on the Verge and related materials and events, were the manifestation and continuation of these social engagements, disparate and overlapping ideologies and imperatives, and attendant cultural politics. Furthermore, the exhibitions' interactions with the public reveal the extent to which Chicano cultural workers and competing parties were able to communicate their intentions.
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