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March 2001 • April 2001 • May 2001 • June 2001 • July 2001 • August 2001 • September 2001 • October 2001 • November 2001 • December 2001 • 2002 • 2003 • 2004 • 2005 • 2006 • 2008 • 2009 • 2010 • 2011 |
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2002 •Nice art! -- T & M Ridgeway (01/01/02) • In my assessment, whatever Romero-Sedeno says about the art exhibit has neither truth nor value, and will not, until he accepts responsibility for his role in turning a discussion of art and ideas into a hateful and evil affair. -- mvsedano (01/04/02) •MVSedano continuously cowers from debate about the semiotics, symbolisms and cultural implications I have raised questions about in criticism about A. Lopez's Our Lady of What-a-Looker. --Pedro Romero Sedeno (01/04/02) •Given that similar figurines (including monks and priests) are sold on the streets of Barcelona and in front of cathedrals - and have been for a couple of centuries at least - this is so ridiculous. -- Svetlana Mintcheva (01/07/02) •I realize the exhibition has closed, but I was interested if there were additional links containing any new developments since September. -- Shelly Reese (01/16/02) •I think your work is wonderful, and it really touched me as a woman. -- Julie.M.Davis (01/16/02) •I grew up in SF and I have an obsession with Guadalupe imagery, so your work and this issue have a very personal meaning to me. -- Katie FitzCallaghan (01/18/02) •Anyway, I love the idea, your reconfiguring her image as a woman and not just an unattainable role model for women. -- Elaine Pena (01/18/02) •Witness last year's non-sense of the Museum of International Folk Art of the Museum of New Mexico stumping Alma Lopez's digitalia**. To me, this "cultural display" by a folk art institution only promoted the stereotype, the pigoenhole, of all Chicano artists are folk artists whose esperiments belong in the folk art venue ---- they are new and naive to the medium, and the work comes out this way because they know no better. -- Pedro Romero Sedeno (01/22/02) •!st of all; your so called critics, give you rent free space to promote your concept of; "Our Lady" "Our Lady" Virgin of Guadalupe!--Rosalio Sanchez (01/28/02) •There is nothing about Alma's work that recruits anyone to join her or believe what she believes. --Margaret Garcia (01/28/02) •Alma Lopez reflects this same jingoism in her Lupe series, "our lady" serving as propaganda for Alma's gender-politics, a rant against the Catholic male hierarchy. --Pedro Romero Sedeno (01/29/02) •As I recall the Santa Fe community was the first to throw stones and Alma defended herself. I would do the same if I was in her shoes. --Lizette (01/29/02) •(To Octavio Romano) Otra vez la mula al trigo... Why does that pisses you off so much? Have you forgotten that you were an early praiser of "Our Lady?" --urrutia (01/29/02) •The 1999 digital poster by Alma Lopez deletes the garments of Guadalupe that are codexes in themselves, and claims are made that this poster is an interpretation of Guadalupe-Tonantzin. -- Pedro Romero Sedeno, MFA (01/30/02) •It's BEAUTIFUL! --Audrey Francis (01/30/02) •While I'm one of the whitest gringos around, I have always loved Hispanic/Latin culture - especially the powerful artwork, and yours ranks up there with the best as far as I'm concerned. -- James Wiske (01/30/02) •Es tristisimo ver la imagen que hiciste de la Virgen de Guadalupe, espero que tengas miedo, porque por lo visto respeto no hay pero para nada, obviamente es el mal (el Demonio) el que está detras de la miseria humana, queda claro en que equipo estas. --Luisa Fernanda Basurto Casais (01/31/02)
•As for there being ignorance in Alma's mind, I take the view that she is cognizant of oppressive and narrow minds like you. Nevertheless, she is not allowing people like you to dictate what she can do and when. -- Urrutia [To Pedro Romero Sedeño] (02/01/02) •urrutia, this deity inside of me guides me to "speak truth to power". The power here is ignorance, ignorance about the pictorial revelation of deity's MOTHER aspect, La Lupe, ignorance about her Image as a CULTURAL standard, ignorance in Alma Lopez's mind, yours and various sundry individuals whom I perceive as POSTURING to be progressives and intellectuals. A la Madre! -- Pedro Romero Sedeño [To Urrutia] (02/01/02) •Estimado Pedro: With regard to your forthcoming debate with Alma Lopez, I think it would be a courtesy to all others if the participants adopt everyday English to the exclusion of in-group shop talk and technical language. -- Octavio Romano [To Pedro Romero Sedeño] (02/02/02) •I think they are all interpretations and re interpretations. -- Alma Lopez (02/02/02) •The second type of interpretation (actually a modification or "re-image" as you call-it), is that offered which does not pursue this fidelity to the Image-content, and instead is selective in its choice of elements in the icon, deleting some and adding additional content derived from the artist's personal experience. -- Pedro Romero Sedeño (02/02/02) •The Education of Pedro Romero Sedeño: Chicana/o Art and the Virgen de Guadalupe. Objective: To gain a broader understanding of Chicana/o Art, with a focus on Chicanas and the Virgen of Guadalupe. --Alma Lopez (02/02/02) •I think feminist art comes into its full power when it acknowledges and upholds, rather than ignores, the maternal values of womanhood. This conjecture of mine is a key, I maintain, to understanding the differences between Alma Lopez's "La Lupe series" and the original icon of "Our Lady of Guadalupe" , the goal of my participation in this exchange. -- Pedro Romero Sedeño (02/04/02) •Good Show Alma! and congratulations on the continuing controversy, Ha! we should all be so lucky. Half the time one goes into an exhibition and ten minutes later can't recall what one saw because the stuff is so phenomenally forgetable. Not this one, I remember every bit of it, right down to the way the graphics were designed on the wall. -- Rosa M. (02/04/02) •Let me reiterate that I, Pedro Romero, have never advocated censorship of Alma Lopez's work. My activist work has been to educate, urging that La Lupe series remain on exhibit, if not in the Museum, in another appropriate venue, such as an art gallery. -- Pedro Romero Sedeño (02/05/02) •Do Chicana more often than Chicano artists reinterpret the established cultural and religious icon of the Virgen of Guadalupe? Why? What is the purpose of repeatedly portraying the same image over and over, void of a personal or social or political interpretation or meaning? -- Alma Lopez (02/05/02) •Pedro, according to you it would be fine if the "Our Lady" digital print had been on exhibition in a Santa Fe gallery but not in a museum? Why? Does this apply to your work too? Does this apply to all Chicana/o Art also? Why shouldn't we be in museums? -- Alma Lopez (02/05/02) •I hope I have shown you, at least, that an artist in Santa Fe with a little education about art has the brains to question the artistic merit and intent of your work, and not just naive Catholic laypeople and clergy concerned about theology (well, cultural identity too.). -- Pedro Romero Sedeño (02/05/02) •"Our Lady" digital print is not devotional art. It is a print on exhibit in a museum. It is not in a church. Is it difficult for you to distinguish between a museum and a church? I'm not asking anyone to pray to this digital print, nor light a candle. Nada like that. Like is usual in museums, all I would expect is for people to look at it for a few seconds before moving on to the next print, or the next gallery, or the next museum. -- Alma Lopez (02/05/02) •My point was simply that not only women, but also men reinterpret the Virgen of Guadalupe. -- Alma Lopez (02/06/02) •No, I am not looking at the Image as a "Catholic" religious image. I understand the Image as a cosmic revelation which spoke to the indigenous and which was later controlled by the Catholic institution. -- Pedro Romero Sedeño (02/06/02) •I just wanted for both of us to acknowledge that we are looking at one image very differently, and to respect that. -- Alma Lopez (02/06/02) •Bottom line: complain all you want Pedro, Alma needs no defense, and nothing that has gone before her image argues against the viability and authenticity of her virgin image or any image she creates as legitimate and acceptable within anyone's understanding and appreciation of chicana and chicano art. -- Michael Sedano (02/07/02) •MVSedano, cut the rhetoric, you're merely coming from the ego. While Alma Lopez makes up her mind as to whether Our Lady of Guadalupe exists or not and if the apparition really took place, I think that there are Chicana artists that not only look at Her Image, but actually connect themselves to the Spirit behind the Image, through an exercise of faith. -- Pedro Romero Sedeño [To M.V. Sedano] (02/07/02) •Does your paragraph mean you believe Alma Lopez' art is not connected to spirit realities? I don't understand how a figure's mode of dress cuts the connections between the source image and the current derived image? -- M.V. Sedano [To Pedro Romero Sedeño] (02/07/02) •As I said once before, I don't think any symbol -- cross, flag, dollar bills or the virgen -- is off limits for artistic reinterpretation. -- JoAnn [To M.V. Sedano] (02/07/02) •I reiterate here that Alma Lopez has every right to make whatever, and if this Museum wants to prop the notion that what she made is of artistic merit, I, Pedro Romero, have every right to question the merit of the "work". -- Pedro Romero Sedeño [To M.V. Sedano] (02/09/02) •Your visions of women are beautiful, strong, and personally empowered, and they serves as a source of inspiration, I think, for all women. By the way, my husband (who has been bringing classes to Santa Fe for seven years) thought the Cyber-Arte exhibit and your work in-particular were the most meaningful part of his class-EVER.-- Julie Davis (02/10/02) •I'm looking to find out if "our Lady" is being displayed anywhere today - after the SF New Mexico exhibit. -- Marge (02/11/02) •If someone is going to support the dissection and manipulation of a pueblo's principal religious icon, one the people take to their heart, carry with them into their batallas and teach their children to respect, and support that this manipulation function as a vehicle for some ego's own agenda, then I say these supporters do not know the meaning of "respect". -- Pedro Romero Sedeño [To Guillermo Bejerano] (02/11/02) •I'm sorry but I was really ofended by it. First of all the woman representing the virgen does not have a decent look on her face. It looks to erotic. -- Arturo Lopez (02/12/02) •I am informed by a woman Conchera dancer in NM that the invocation of Coyolxauqui in feminist pagan religion is the attempt to re-member this sister deity, to re-member her and a need to retaliate, mythically, to the destructive deed of the male deity Huitzilopochtli who dis-membered her. . In effect, an anti-myth of retaliation, to remember grievances, to counter the "myth" of compassion communicated by the deity Guadalupe-Tonantzin. i.e. of letting go of grievances and forgiving. -- Pedro Romero Sedeño (02/12/02) •Regardless of beliefs, one way or another, you have written the best review yet of the "Guadalupe" work by Alma Lopez. -- Octavio Romano [Pedro Romero Sedeño] (02/12/02) •Why is a healing image for Chicanas necessarily a "retaliation" image for Chicanos like Pedro? -- Alma Lopez [To Pedro Romero Sedeño and Octavio Romano] (02/12/02) •My final conclusion is that the work "Our Lady" by Alma Lopez is weak. It is highly derivative, showing excellent craft, but in substance, pretty thin. Aside from shuffling around some of the design motifs of Guadalupe and embedding the Coyolxauqhui stone, what's there besides some vibrant colors? -- Pedro Romero Sedeño (02/12/02) •I am an artist with an mfa too, so your conclusion of my work doesn't have any more bearing or weight than mine. Its simply your opinion. You have a right to your opinion, and I have a right to mine. -- Alma Lopez [To Pedro Romero Sedeño] (02/12/02) •...I do think this constitutes some kind of religious moral contradiction...violently reprimanding someone to defend the visual representaion a "compassionate" mother? And since when did Mexicanos regard Chicanoa work as virtuous? I thought we were still Pochos? -- Marco Loera [To Pedro Romero Sedeño] (02/12/02) •I said that I felt that a more appropriate venue for your work was a gallery. A museum can show bad art if it chooses to, (they often times do), but I think they should qualify it as such, especially a publicly-funded one that gets its funds by stating its mission is to be educational. -- Pedro Romero Sedeño (02/12/02) •You may not agree that the exhibition was educational, but it was. Its intent was to demonstrate how traditional iconography and new technologies are combined in the work of four Chicana/Latina/Hispana artists - three of them from NM and me the outsider from California. And like I have stated before, my work is well within a Chicana/o art tradition. In solidarity with me and to take a stand against censorship of Latina artists, the three Nuevo Mexicana artists asked that their work be removed if my work was removed. -- Alma Lopez [To Pedro Romero Sedeño] (02/12/02) •Have you ever heard of being succinct? When I talk about fanatical preaching I am definitely talking about you: You go on an on as if your view were the only one. You figure that if you can't convince anyone you will just wear them down. -- Traveisa [To Pedro Romero Sedeño] (02/13/02) •How, by mixing the stonework into Lupita's garment, the artist offers so subtle and sly a verbal trick. "Behold!" proclaims the artist, "the substance of what goes before, the antemyth." Ante, meaning before, and a duality in femininity. Not the anti- the one or the other. Ante-myth. I never saw that before. -- M.V. Sedano [To Pedro Romero Sedeño] (02/13/02) •I hope you have seen my post about Southern California Chicano prisoners in San Quentin. The working rule is: "You are either for us or you are against us, either by act or region or neighborhood." The ganga rules. -- Octavio Romano (02/13/02) •Octavio, I don't know about gang/prison relations, but just enough to know that you are over-simplifying. I can't really speak to these, but hopefully activists like raulsalinas or others will if they want to... -- Alma Lopez [To Octavio Romano] (02/13/02) •Yo soy Michael Victor Sedano. Pasadena Califas. I am not enraged in dialog con la Alma. Romero-Sedeño has, in his typically misogynistic manner, affiliated me with Alma because I write in support of Alma's "Our Lady," so clearly, folks, there's not a whit of similarity. -- M.V. Sedano [To Traveisa, Rosamwill, and others] (02/13/02) •If there is a "Guadalupe Taliban" here, it is Alma Lopez, who thinks she rules the domain of knowledge of Guadalupe, but her concept of Her is illegitimate and bogus. -- Pedro Romero Sedeño [To Traveisa] (02/14/02) •You are not simply judging Alma's work. You are passing judgment on any one who supports her. -- Traveisa [To Pedro Romero Sedeño] (02/15/02) •I have learned that to many, pero only speaking for myself, that to re-member Coyolxauqhui is to help us to heal from our / her soul wounds - de nuestros sustos como hembras (Avila, 1999), not, as you wrote, " ...in effect, an anti-myth of retaliation, to remember grievances, to counter the "myth" of compassion communicated by the deity Guadalupe-Tonantzin. i.e. of letting go of grievances and forgiving..." . -- Anna Mora [To Pedro Romero Sedeño] (02/15/02) •Alma, can you please send a photo of yourself. I'm going to paint you as the Guadalupe. I'm so ashamed of Santa Fe's faults. -- Ronnie Chavez (02/16/02) •They speak instead in platitudes, in truisms, and the many other linguistic mechanisms to avoid letting the world know who they really are. I speak of Alma, Sedaño, Urrutia, and others. Your work, Sedeño, tells the world who you really are. -- Octavio Romano [To Pedro Romero Sedeño] (02/17/02) •Hi Alma, I just wanted to let you know that I went down to SF this week and talked to lots of interesting people! -- Katie Johnson (02/17/02) •i am writing to share my observation that whenever the journal shows a copy of the alma lopez work, it cuts off the bottom - the breasts of the angel. it did not edit out the breasts in your column. perhaps because primitive breast don't cause heavy breathing. -- Helen Lopez, Attorney at Law, Taos, New Mexico [To Mr. Hume] (02/18/02) • Believing that her digitals have anything to do with Guadalupe is like believing that the fictional Frankenstein actually did exist or came to life. -- Pedro Romero Sedeño [To Calaca] (02/18/02) •I'm a non-believer (of any kind of religion). So I don't give a turd if people dis la Lupe or not (though I don't think Alma disses her). -- Brent E. Beltrán [ To Pedro Romero Sedeño] (02/18/02) •I have, in the past 9 months, posted quite a bit of satire related to my analysis of Alma Lopez's "our lady", and for good reason. Touted by the Museum of New Mexico as a representation of Our Lady of Guadalupe and a representation of "changes" in our culture, the piece deserves serious questioning of its merit, and of the attitude which produced it. -- Pedro Romero Sedeño [To Cecelia] (02/19/02) •I thought Sedeño was your buddy? Especially the way you two were tag teaming up against Alma and her Lupe. Your common hatred for her ain't enough to sustain the relationship, huh? -- Calaca [To Octavio Romano] (02/19/02) •I don't pretend to be the most faithful and have not been most compassionate in my analyses of Alma Lopez's La Lupe series (I enjoy my satire, at least it's original and creative). But at least I have the conviction to state that I am a believer, and make my position known. -- Pedro Romero Sedeño [To Traveisa] (02/20/02) •Finally, shouldn't we all, as part of a multi-cultural society, be willing to accept that another person's expression is about them and their expression, and not about attacking other people whose religious persuasion is different? That the occasional offensive work, even if offensive to many, is worth tolerating as part of the process that creates many kinds of work to appreciate? -- JoAnn (02/20/02) •Ms. Lopez I am a college student studying Latin American History. I would like to hear from you about your life, growing up, and most of all your painting of the Virgin de Guadalupe. -- Bernadette Hernandez (02/22/02) •Yet Alma and her print is in denial of the strength required and acquired in maternity. This is the most salient shortcoming of the piece. In this, Alma fails at interpreting Guadalupe in any substantive way. In addition, two gazes, one of humility, offered in deference to the viewer, the other gaze with a different intent, confronts the viewer, confrontational, "in your face", could be interpreted as that of a threatening chola.-- Pedro Romero Sedeño (02/23/02) •Thank you so much for helping me out with my research project. I really appreciate it. I've had time to think of questions I'd like you to answer if you could. -- Bernadette Hernandez (02/25/02) •Personally, I loved the piece and couldn't quite understand what all the hullabaloo was about. --Katie Johnson, Albuquerque, New Mexico (02/25/02)
• I see Alma's work as a political statement about gender issues, her Guadalupe-adornments and her claims that her work is an "interpretation" are more like camouflage propping weight to Alma's message, at best. At worst, a cheap-shot at notoriety or stepping-stone in the artworld, ambition sans devotion. -- Pedro Romero Sedeno [To joannpen@attbi.com] (03/04/02) •The Manitos developed a folk art tradition distinct from the folk art tradition of the US in that it was religious in intent and character and Hispanic, of course. This folk art tradition included many retablos done in devotion to Our Lady of Guadalupe, and considering that New Mexico was actually Mexico until the Anglo-American occupation consummated in 1848, one can see that that La Virgen is "our" symbol tambien, culturally, although not as historically as in Mexico since the rupture of the historical experience by the Anglo border. -- Pedro Romero Sedeno [To Roberto Rodriguez, XColumn] (03/06/02) •THE PRIMARY MISTAKE YOU MAKE IS ASSUMING THAT THIS IS AN ISSUE THAT'S GERMAINE TO NEW MEXICO ONLY. TECHNICALLY, THIS ISSUE SHOULD BE OF IMPORTANCE TO ALL THE PEOPLES OF THE AMERICAS AND THE FACT THAT IT APPEARED IN A NM MUSEUM DOES NOT GRANT NUEVOMEXICANOS MORE OF A RIGHT OR INSIGHT INTO THE SUBJECT. -- Roberto Rodriguez, XColumn [To Pedro Romero Sedeno] (03/06/02) •Sólo quería saludarte y felicitarte por tus composiciones. Están muy muy bien y me fascina la de la nueva virgen. -- Martín Camps (03/06/02) •My family lives in Santa Fe, NM and I had remembered hearing about your interesting painting from my very catholic parents while visiting. I briefly thought about both sides of the issue and I really felt that both sides had grounds in which they could argue coherently.--Lourdes Solorzano (03/06/02) •I REJECT your notion that my argument re Alma Lopez's work is linked to the past call for censorship, or connected to an "anti-Mexican" sentiment. -- Pedro Romero Sedeno [To Roberto of XColumn] (03/10/02) •Shown anywhere else, New York, Los Angeles, etc., would have been fine with me. But in its exhibition (pun intended) in the Folk Arts section of the Museum of New Mexico, the work was metamorphosed into a gross, ideological, political and destructive statement against the Catholic Manito people of the state. -- Octavio Romano (3/10/02) •I don't think that you were born in mexico because, if you were born in mexico then you wouldn't make fun of the image of our virgen de Guadalupe.-- Martin (03/11/02) •I am a third world feminist who is aware of all the injustice but I do not agree on fighting for that injustice with something that will offend someone else. --Ana Carrillo (03/12/02) •When I first saw the image of La Virgen I was shocked. It hit my very soul. But then I reflected and read your comments. I must now say you did La Virgen justice. --P. Aguirre (03/12/02) •I'd written and produced a musical play about Mary Magdalene as an abused child, in 1995, performed in Espanola, No NM Community College. It was addressing the same issues, and the political climate was similar to your own art work controversy. -- Patricia Brown (03/25/02)
•I think the painting is wonderful. I have cut a page from a local newspaper featuring the picture and posted it on a wall in my house. -- Nelio de Sousa (04/03/02) •Alma's work, to me, is rather inneffectual in itself; what I fiound dangerous is the claim that the artist makes of it, and propped by the Museum of New Mexico, that it is her interpretation of an venerated image and Persona, -- Pedro Romero Sedeño (04/16/02) •finally, a statement about art. finally a clear critical posture. the standard of measure will be "effectual" -- Michael Sedano (04/17/02) •This stuff is totally unseen in Australia, I was thinking maybe an exhibition down under would be great. -- T & M Ridgeway (0419/02) •Look at Alma's piece, how it takes on a life of its own to find disparate audiences who then use the piece for their own ends. -- Michael Sedano (04/20/02) •To illustrate a point I have communicated about for about a year now, I urge viewers: Take a look at Alma's piece "Our Lady" and also take a look at the original image of Our Lady of Guadalupe. -- Pedro Romero Sedeño (04/21/02) •MAY GOD HAVE MERCY ON YOUR SOUL! -- Trudy Selig (04/22/02) • Pedro, you and all those millions of people are entitled to those perceptions as true and sacred, as my wife and many of my family members. I respect that. But as an artist that you are, I would think that you would abhor restrictions imposed on any other artist to express themselves as they wish. -- Mando (04/22/02) • I see your art specifically addressing the need for some real female identification within Catholicism. -- Peggy Lee Kennedy, Loyola Marymount University (04/26/02) • As to your wariness about "wrap up in a religious mantle", you sure seem to have gobbled up Alma Lopez's sophistry about her political poster wrapped up in Guadalupe-packaging. -- Pedro Romero Sedeño (04/26/02) •What I wrote about Alma's "Lupe" was; I like it, but I thought it needed maturity. What I thought about your critique was that it was full of contemptible religious bias that went on and on for weeks,and still going. -- Mando (04/26/02) •The other side, people who see art and magic in any creation, seems to hold that Art expresses one's heart and soul, una alma that guides one to create, draw, shoot, sculpt, write about a subject matter. -- Michael Sedano (04/27/02) •(To Mando) Your glaringly empty analysis is akin to your expressed "like" of Alma Lopez's piece in your Mystaken Musings posting, because of "all the historical, cultural, and political" whatever she put in the piece. -- Pedro Romero Sedeño (04/27/02) • just wanted to tell you how much i appreciated your web site. -- Maritza Giovanna Stanchich, Doctoral Candidate, Literature Department, University of California, Santa Cruz (04/28/02) •This spring I am teaching "Latinas in the U.S." at CSU Hayward. One of the lectures is about how Chicana visual artists have refigured and reclaimed the Virgen de Guadalupe. -- María Ochoa (04/29/02) • As Mando still articulately fingers it out in this "deep" forum about art and ideas, he, in lock-step Aztla-fashion, parrots the "I like Alma's Loopie" blurp, but adds he thinks it needed "maturity". -- Pedro Romero Sedeño (04/29/02) •(To Pedro Romero Sedeño) Did we not evolve from the monkey? Babble on my raving friend, babble on -- Mando (04/30/02)
•Being an artist myself I see why you have stirred up some emotions. Good you've done your job beautifully. -- Elzapper (05/07/02) •On this listserve I have debated a Chicano ideology that seeks to repudiate the image of Our Lady of Guadalupe as a Catholic and European invention, a "colonizing" instrument, as Alma Lopez put it, and only of cultural and secular significance in the life of Chicanas and Chicanos. -- Pedro Romero Sedeño (05/10/02) •AS I'VE NOTED BEFORE, THIS PERSON (Referring to Pedro Romero Sedeño) APPEARS TO HAVE AN OBSESSION WITH THIS SUBJECT ... BELIEVING THAT IF HE KEEPS BRINGING IT UP, SOMEHOW HE WINS. -- Roberto Gutierrez, XColumn of the Americas (05/11/02) •I have made an issue about the Museum of New Mexico's intellectual fraud , i.e. presenting something that is anti-traditional as something that is a development of tradition. -- Pedro Romero Sedeño (05/14/02) • Last year, a state cultural institution, the Museum of New Mexico, in its Museum of International Folk Art, exhibits an installation with a computer on an altar in a chapel-like setting and calls the show "CyberArte: Tradition meets Technology". -- Pedro Romero Sedeño (05/16/02) •In Chicano culture, there are some who believe in the apparition of an "extraterrestrial intelligence" known as Guadalupe-Tonantzin. A dialogue in February on this listserve compared non-belief and belief in these apparitions between two Chicanoa artists, respectively Alma Lopez and Pedro Romero. -- Pedro Romero Sedeño (05/23/02) •I like the intellectual and political energy of your work and I admire your courageous spirit. -- Harryette Mullen (05/25/02) •no mames con esa foto de la vigen!! eso es pura mierda!! -- Ghaurto Franco (05/25/02) •I
salute your efforts to keep the discusion open and to assert your right
to display your creativeness. It is important for each of us to
have a voice to express and a space to express it. -- Nathalie Turmeau •I think "Our Lady" looks very beautiful! -- Orlando (06/29/02)
•I am working on my master's at the University of Oklahoma; my thesis is "La Virgen de Guadalupe in Contemporary Latino Culture: Images in Art and Literature." -- Juanita Salazar Lamb (09/09/02) •Just took a look at your "Our Lady." Honestly, I was somewhat taken back by her adornment; as an African American christian with Catholic Hispanic, African, and Europeon friends, I have always thought of and seen "Our Lady" as a beautiful, modest, and holy lady. -- Veronica Berry (09/15/02) •In our diverse culture, people need to appreciate and embrace differences, yet instead it is feared. Such a shame. When such fear is acted on, such as in censorship, it hurts everyone. -- Stephanie Ludt (09/25/02)
•I will say a prayer for you, Alma. This is a truly unworthy use of the talent God gave you, and you will suffer the eternal consequences unless you repent-- Laurence D. Behr, Esq. (10/01/02) •Hello, I have been researching the controversy that ensued at Santa Fe, as well how other Latina artists have portrayed Our Lady in recent years. -- Holly, Dept of Communication, University of New Mexico, Albuquerque, NM (10/12/02) •I really like your illustration of La Virgen. Often, I find myself appreciating a work more when I hear or read about the artist's intent. -- Diane Osollo (10/18/02) •One thing that struck me in particular about the controversy in Santa Fe was the lack of dialog and the severity of discord among the parties involved, particularly in regard to a religious issue. -- Lille Norstad, graduate student, Spanish and English Departments at UNM (10/21/02) •En mi opinion, es muy barato su interpretacion de este importante imagen -- Alfonso Camarena (10/22/02) •I suspect that what is infuriating all these caballeros in Northern New Mexico is NOT the costume, but the loss of the all-loving, all-forgiving, all-nurturing mom. -- Elvira Segura (10/30/02) •I am an art student from England ( I used live in Mexico and also in northern California ) who is interested in anythnig inspired by Guadalupe as i am starting some work inspired by her. -- Chloe (10/31/02)
•this isnt very nice for catholics who praise our lady of guadalupe. have a little more respect for our lady and for yourself.-- Esperanza (11/25/02)
•I think those that get offended by Our LAdy are not sure what they believe in, otherwise someones art and expression would not pose a threat. -- Viviana Toledano (12/10/02) •me gustaria que fueras un poco mas religiosa pues me imagino que alguna bes as leido oas escuchado de la Biblia aserca de Maria Magdalena con Jesus Cristo -- Eladio (12/11/02) •I wish I could see a strong woman as some of your e-mailers have called this work of the "Virgen" but Alma I felt really sad when I saw your work , to me I felt ashamed by it, you can rate it up there with that guy who put a crucifix in a bottle of urine. -- Eloy (12/11/02) •I think your website succeeds in creating an outlet for people to voice their concerns and question the iconography that molds our culture as Latinas. -- Patricia Benjumea, graduate student, English Department, California State Fullerton (12/16/02) |
