Reviewed by:

• The Heart of the Mission: Latino Arts and Politics in San Francisco by Cary Cordova
• Allison L. Glover

Cary Cordova’s book The Heart of the Mission: Latino Arts and Politics in San Francisco showcases the evolution of the Chicano arts community in San Francisco, California, in the 1940s and 1950s into the epicenter of Latino cultural production and political mobilization from the 1960s to the present. To do this, it presents the artists who imbued el mestizaje into their work for the purpose of reclaiming their multiethnic heritage and inspiring resistance to European and North American hegemony. The text also tells a compelling story. By the late 1960s, the Latino struggle for visibility in the Mission District became inextricably linked to the civil rights movement in the US and also to the student movements and popular liberation movements in Latin America and the Caribbean. During the 1980s, cultural production by Latinos critiqued US intervention in place likes Nicaragua and El Salvador. Beginning in the 1990s, Latino artists pushed back against the invasion of the Mission District by the internet companies and the predominantly white professionals in their employ. In this way, the book presents the Mission District as a local revolutionary community that engages hemispheric issues.

The “new, local aesthetic” (1) that emerged in the Mission District was as profoundly diverse as the artists who created it. Luis Cervantes fused “Mexican American and Pre-Colombian cosmology, philosophy and concepts” (59) into his mandala paintings. In her poster art and portraits, Yolanda López reconfigured the form, figure, and shape of the Virgen of Guadalupe. The iconic serigraph produced by Ester Hernández exposed the unjust distribution of the burdens and benefits of a global capitalist single market economy. In their murals, a cooperative of female painters challenged patriarchal norms that marginalize women and devalue their cultural production. The book boasts many other Latino artists whose work communicates their outright refusals to submit to dominant cultural practices.

The Heart of the Mission: Latino Arts and Politics in San Francisco makes good on its promise to demonstrate “a pan-Latino identity among diverse cultures” that unites Latino artists and activists in their struggle for social [End Page 175] justice. Additionally, it elaborates the “transnational solidarities and cross-cultural convergences” that undergird artistic production and political mobilization by Latinos in the Mission District (65). The text, like the art that is celebrated in it, challenges dominant epistemological frameworks that are rooted in the logics of white settler colonialism.

It also exhibits an impressive collection of cultural celebrations and Día de Muertos figures prominently among them. Emerging in the 1970s in San Francisco, California, Día de Muertos showcases art that preserves the past and indicts the present. The altar, or ofrenda, remembers the loss not just of loved ones but also of history, culture, and identity as a consequence of colonialism. By the 1980s, artists represented the disease and death brought on by the AIDS epidemic and the loss of life and liberty as a consequence of US intervention in Nicaragua and El Salvador. Every year, Día de Muertos celebrates the shared history and ethnic identity among Latinos. The public parades and performances are meant to be viewed as radical enunciations of power and biting repudiations of Eurocentric norms that govern mourning practices. As the book demonstrates, memory and mourning operate in tandem during the yearly celebration. When the living, collectively and publicly, call forth the dead and the disappeared, they also call for accountability from responsible agents.

Storytelling is the heart and soul of Cordova’s painstaking research. She interviews more than thirty-five Latino artists and activists. Also, she listens to recordings and reads transcriptions of oral histories stored in the collections of the Smithsonian Institute’s Archives of American Art, among others (6). Then, she seamlessly weaves these personal accounts of identity formation, artistic production, and political mobilization into the historical fabric of the text. Her work not only makes the Latino artists and activists in the...

审核人：

• 任务的心脏：旧金山的拉丁裔艺术与政治，作者：卡里·科多瓦（Cary Cordova）
• 艾莉森·格洛弗（Allison L. Glover）

ç元科尔多瓦的书的使命的核心：拉丁美洲艺术和政治在旧金山展示了在旧金山，加州墨西哥裔美国人艺术团体的发展，在20世纪40年代和50年代进入了拉丁美洲文化生产和政治动员的震中，从上世纪60年代现在。为此，它展示了灌输el mestizaje的艺术家为了恢复他们的多民族传统并激发对欧洲和北美霸权的抵制而加入他们的工作。文字还讲述了一个引人入胜的故事。到1960年代后期，拉丁美洲人在宣教区争取知名度的斗争已与美国的民权运动以及拉丁美洲和加勒比地区的学生运动和人民解放运动密不可分。在1980年代，拉丁美洲人的文化生产对尼加拉瓜和萨尔瓦多等美国的干预进行了批评。从1990年代开始，拉美裔艺术家开始反对互联网公司和主要是白人专业人员在其工作地区对宣教区的入侵。这样，这本书将宣教区介绍为一个涉及半球问题的地方革命社区。

在任务区出现的“新的地方美学”（1）与创造它的艺术家一样深远。路易斯·塞万提斯（Luis Cervantes）在他的曼陀罗画中融合了“墨西哥裔美国人和前哥伦比亚的宇宙学，哲学和观念”（59）。在她的海报艺术和肖像画中，尤兰达·洛佩斯（YolandaLópez）重新构造了瓜达卢佩圣母（Virgen）的形式，图形和形状。埃斯特·埃尔南德斯（EsterHernández）创作的标志性丝网印刷暴露了全球资本主义单一市场经济的负担和利益的不公平分配。女画家合作社在壁画中挑战了将妇女边缘化并贬低其文化生产的父权制规范。该书还吸引了许多其他拉美裔艺术家，他们的作品传达了他们完全拒绝接受主流文化习俗的拒绝。

使命的核心：旧金山的拉丁裔艺术和政治兑现了诺言，展现了“多样化文化中的泛拉丁裔身份”，它将拉丁裔艺术家和激进主义者团结起来争取社会正义[End Page 175]。此外，它还阐述了“跨国团结和跨文化融合”，这是拉美裔人在任务区进行艺术创作和政治动员的基础（65）。文本像其中所赞扬的艺术一样，对植根于白人定居者殖民主义逻辑的主流认识论框架提出了挑战。

它还展示了一系列令人印象深刻的文化庆祝活动，其中Díade Muertos人物就很突出。1970年代，Díade Muertos诞生于加利福尼亚州的旧金山，展示了能够保留过去并指示现在的艺术。祭坛，或ofrenda不仅记得亲人的流失，还记得由于殖民主义而造成的历史，文化和身份的流失。到1980年代，由于美国干预了尼加拉瓜和萨尔瓦多，艺术家们描绘了艾滋病流行所带来的疾病和死亡以及生命和自由的丧失。每年，迪亚·德·穆尔托斯（Díade Muertos）都在庆祝拉丁美洲人之间共享的历史和种族认同。公开游行和表演应被视为权力的激进表达和对哀悼行为的以欧洲为中心的规范的尖锐否认。正如这本书所展示的那样，在每年的庆祝活动中，记忆和哀悼是同时进行的。当在世者集体和公开呼吁死者和失踪者时，他们还要求负责任的行为人负责。

讲故事是科尔多瓦艰苦研究的核心和灵魂。她采访了超过三十五名拉丁裔艺术家和活动家。此外，她还听录音，并阅读史密森尼学会（Smithsonian Institute）的美国艺术档案馆中保存的口述历史记录（6）。然后，她将这些关于身份形成，艺术创作和政治动员的个人叙述无缝地编织到文本的历史结构中。她的作品不仅使拉丁裔艺术家和激进主义者在...