Thanks for your patience during our recent outage at scalar.usc.edu. While Scalar content is loading normally now, saving is still slow, and Scalar's 'additional metadata' features have been disabled, which may interfere with features like timelines and maps that depend on metadata. This also means that saving a page or media item will remove its additional metadata. If this occurs, you can use the 'All versions' link at the bottom of the page to restore the earlier version. We are continuing to troubleshoot, and will provide further updates as needed. Note that this only affects Scalar projects at scalar.usc.edu, and not those hosted elsewhere.
Martine Gutierrez's "Demons" and the Queer Latinx ExperienceMain MenuXochipilli, The Flower PrinceTlazoteotl, Eater of FilthChin, Demon of LustYemaya, Goddess of The Living OceanXochiquetzal, Flower Quetzal FeatherConclusionWorks CitedReid Mansurc3f3a79bd0d11436f3c01b38ffd0ebc43b05bd13
Introduction
1media/Indigenous Woman.jpg2019-11-25T15:32:42-08:00Reid Mansurc3f3a79bd0d11436f3c01b38ffd0ebc43b05bd133584061plain2019-12-10T09:39:12-08:00Reid Mansurc3f3a79bd0d11436f3c01b38ffd0ebc43b05bd13Martine Gutierrez is a transgender Latinx woman of Guatemalan descent. Her art spans genre and medium, dealing with topics and themes ranging from colonialism and racial prejudice to gender dominance and cultural appropriation. In 2019, she released Indigenous Woman, a 124-page magazine full of high-fashion spreads, artistic self-portraits, and satirical photos on modern consumerism. Photo series such as Masking and Neo-Indeo explore her identity as the eponymous Indigenous Woman. The feature that speaks most to her identity as a trans woman is Demons, subtitled Deities of the Ancient World Resurrected in Hair. Using elaborate hair sculptures, dramatic make-up, and an extravagant amount of accessories, Gutierrez portrays her personal experience of transness in the Latinx community. Influenced by mythology, history, art, and politics, her work reclaims elements of colonialism and cultural appropriation to portray the strengths of being a trans member of the Latinx community.
The name of the series is a reference to how European invaders classified Mayan and other indigenous deities upon their arrival in Mesoamerica. Seen as sacrilege and blasphemy by the Catholic Church and other religious authorities in Europe, these deities were often erased from public memory, with those who continued to worship them being punished. Many were successfully destroyed, only existing in modern day as images and obscure references in text. Others became absorbed into Catholic practices to help convert natives to Catholicism. Gutierrez's title is in and of itself a political statement, a reclamation of that which has been taken from her people. Her ancestors experienced traumas because of their race and religion, traumas similar to those she has experienced as a transgender woman. In one fell swoop, she tells the stories of both her ancestors and herself through a series of portraits that, though inspired by the divine, are vulnerable and candid.
1media/Queer-Rage-P.S.Your-Parents-Are-Nuts-p73-2-min_thumb.jpg2019-12-09T18:15:02-08:00Queer Rage, P.S. Your Parents Are Nuts1Martine Gutierrez. Queer Rage, P.S. Your Parents Are Nuts, p73 from Indigenous Woman, 2018. C-print mounted on Sintra with hand-painted artist frame. 16 1/2 x 11 inches (41.9 x 27.9 cm)media/Queer-Rage-P.S.Your-Parents-Are-Nuts-p73-2-min.jpgplain2019-12-09T18:15:02-08:00
1media/Masking-Cocoa-Mask-p50-264x330_thumb.jpg2019-12-03T07:53:18-08:00Cocoa Mask1Masking, Cocoa Mask, p50, 2018 C-print mounted on Sintra 20 × 16 in 50.8 × 40.6 cm Edition of 8media/Masking-Cocoa-Mask-p50-264x330.jpgplain2019-12-03T07:53:18-08:00
1media/Neo-Indeo_thumb.jpg2019-12-03T07:54:55-08:00Cakchi Lana Caliente1Neo-Indeo, Cakchi Lana Caliente, p29, 2018 C-print mounted on Sintra 54 × 36 in 137.2 × 91.4 cm Edition of 8media/Neo-Indeo.jpgplain2019-12-03T07:54:55-08:00