Consuelo Jimenez Underwood's artwork is marked by her compassionate
and urgent engagement with a range of pressing contemporary issues,
from immigration and environmental precarity to the resilience of
Indigenous ancestral values and the necessity of decolonial
aesthetics in art making. Drawing on the fiber arts movement of the
1960s and 1970s, Chicana feminist art, and Indigenous fiber- and
loom-based traditions, Jimenez Underwood's art encompasses
needlework, weaving, painted and silkscreened pieces,
installations, sculptures, and performance. This volume's
contributors write about her place in feminist textile art history,
situate her work among that of other Indigenous-identified feminist
artists, and explore her signature works, series, techniques,
images, and materials. Redefining the practice of weaving, Jimenez
Underwood works with repurposed barbed wire, yellow caution tape,
safety pins, and plastic bags and crosses Indigenous, Chicana,
European, and Euro-American art practices, pushing the arts of the
Americas beyond Eurocentric aesthetics toward culturally hybrid and
Indigenous understandings of art making. Jimenez Underwood's
redefinition of weaving and painting alongside the socially and
environmentally engaged dimensions of her work position her as one
of the most vital artists of our time. Contributors. Constance
Cortez, Karen Mary Davalos, Carmen Febles, Maria Esther Fernandez,
Christine Laffer, Ann Marie Leimer, Amalia Mesa-Bains, Robert
Milnes, Jenell Navarro, Laura E. Perez, Marcos Pizarro, Veronica
Reyes, Clara Roman-Odio, Carol Sauvion, Cristina Serna, Emily
Zaiden
General
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