Months before Alma Lopez's digital collage Our Lady was shown at the Museum of International Folk Art in 2001, the museum began receiving angry phone calls from community activists and Catholic leaders who demanded that the image not be displayed. Protest rallies, prayer vigils, and death threats ensued, but the provocative image of la Virgen de Guadalupe (hands on hips, clad only in roses, and exalted by a bare-breasted butterfly angel) remained on exhibition.

Highlighting many of the pivotal questions that have haunted the art world since the NEA debacle of 1988, the contributors to Our Lady of Controversy present diverse perspectives, ranging from definitions of art to the artist's intention, feminism, queer theory, colonialism, and Chicano nationalism. Contributors include the exhibition curator, Tey Marianna Nunn; award-winning novelist and Chicana historian Emma Perez; and Deena Gonzalez (recognized as one of the fifty most important living women historians in America).

Accompanied by a bonus DVD of Alma Lopez's I Love Lupe video that looks at the Chicana artistic tradition of reimagining la Virgen de Guadalupe, featuring a historic conversation between Yolanda Lopez, Ester Hernandez, and Alma Lopez, Our Lady of Controversy promises to ignite important new dialogues.

Since 1993, more than five hundred women and girls have been murdered in Ciudad Juarez across the border from El Paso, Texas. At least a third have been sexually violated and mutilated as well. Thousands more have been reported missing and remain unaccounted for. The crimes have been poorly investigated and have gone unpunished and unresolved by Mexican authorities, thus creating an epidemic of misogynist violence on an increasingly globalized U.S.-Mexico border. This book, the first anthology to focus exclusively on the Juarez femicides, as the crimes have come to be known, compiles several different scholarly "interventions" from diverse perspectives, including feminism, Marxism, critical race theory, semiotics, and textual analysis. Editor Alicia Gaspar de Alba shapes a multidisciplinary analytical framework for considering the interconnections between gender, violence, and the U.S.-Mexico border. The essays examine the social and cultural conditions that have led to the heinous victimization of women on the border-from globalization, free trade agreements, exploitative maquiladora working conditions, and border politics, to the sexist attitudes that pervade the social discourse about the victims. The book also explores the evolving social movement that has been created by NGOs, mothers' organizing efforts, and other grassroots forms of activism related to the crimes. Contributors include U.S. and Mexican scholars and activists, as well as personal testimonies of two mothers of femicide victims.

This bold novel unravels the mystery and complexity of the woman Carlos Fuentes calls "the first great Latin American poet." Sor Juana In??'s de la Cruz (1648-1695), poet, playwright, rhetorician, and musician, is often equated with Sappho, the lesbian poet whom Plato baptized the "Tenth Muse."

The Mexican nun has fascinated readers around the world for centuries as scholars have attempted to understand her brilliance, her feminism, the affairs of her heart, her decision to enter a convent at the beginning of her luminous intellectual career.

Juana Ram???rez de Asbaje, an illegitimate "criolla," is sixteen when word of her self-taught erudition travels to the palace in Mexico City and she becomes an attendant to Do???a Leonor Carreto, Marquesa de Mancera. Wanting only to study, confused by her love for la Marquesa, and loathe to marry, in five years Juana becomes Sor Juana In??'s de la Cruz in the Convent of Santa Paula of the Order of San Jer???nimo. There, her quill becomes her salvation and damnation as her notoriety mounts with each new artistic commission. Popular with court and clergy, she receives a stream of guests at the convent, among them la Condesa de Paredes, who becomes Sor Juana??'s intimate friend. More than two decades later, after brilliantly defending her right to think, teach, and write, Sor Juana appears before the Inquisition and abruptly withdraws from the spotlight.

Mixing fiction with Sor Juana??'s own words, and drawing on the most recent Sor Juana scholarship, Alicia Gaspar de Alba creates the most full-bodied portrait of Mexico??'s Tenth Muse to date. This remarkable novel about a remarkable woman will enlighten a new generation of readers, and stokethe interest of devotees who already are captivated by the inspiring Sor Juana In??'s de la Cruz.

"An adventuresome exploration into the lyrical and historical vision of an extraordinary woman, written by an extraordinary novelist who has given us a new possibility to dream and invent Sor Juana In??'s all over again."--Marjorie Agos???n, Wellesley College

"Beautifully written, without doubt the best book I have read this year. A masterpiece."--Greg Sarris, author of "Watermelon Nights"

Its the summer of 1998 and for 5 years over a hundred mangled and desecrated bodies have been found dumped in the Chicuahua desert outside of Ciudad Juarez, Mexico, just across the river from El Paso, Texas. The perpetrators of the ever-rising number of violent deaths target poor young women, terrifying inhabitants on both sides of the border. El Paso native Ivon Villa has returned to her hometown to adopt the baby of Cecilia, a pregnant maquilodoro worker. When Cecilia turns up strangled in the desert, Ivon is thrown into the churning chaos of abuse and murder. As the rapes of girls from the south continue, a conspiracy covers up the crimes that implicate everyone from the Maquiladora Assn. to the Border Control. Ivon's younger sister gets kidnapped and she knows that its up to her to find her. From acclaimed poet Desert Blood is a gripping thriller that ponders the effects of patriarchy, gender identity, culture, transnationalism and globalization on an intl crisis.

The first major visual and cultural exploration of the legacy of La Malinche, simultaneously reviled as a traitor to her people and hailed as the mother of Mexico An enslaved Indigenous girl who became Hernan Cortes's interpreter and cultural translator, Malinche stood at center stage in one of the most significant events of modern history. Linguistically gifted, she played a key role in the transactions, negotiations, and conflicts between the Spanish and the Indigenous populations of Mexico that shaped the course of global politics for centuries to come. As mother to Cortes's firstborn son, she became the symbolic progenitor of a modern Mexican nation and a heroine to Chicana and Mexicana artists. Traitor, Survivor, Icon is the first major publication to present a comprehensive visual exploration of Malinche's enduring impact on communities living on both sides of the US-Mexico border. Five hundred years after her death, her image and legacy remain relevant to conversations around female empowerment, indigeneity, and national identity throughout the Americas. This book establishes and examines her symbolic import and the ways in which artists, scholars, and activists have appropriated her image to interpret and express their own experiences and agendas, from the 1500s through today. Published in association with the Denver Art Museum Exhibition Schedule: Denver Art Museum (February 6-May 8, 2022) Albuquerque Museum (June 11-September 4, 2022) San Antonio Museum of Art (October 14, 2022-January 8, 2023)

"What the women I write about have in common is that they are all rebels with a cause, and I see myself represented in their mirror," asserts Alicia Gaspar de Alba. Looking back across a career in which she has written novels, poems, and scholarly works about Sor Juana Ines de la Cruz, la Malinche, Coyolxauhqui, the murdered women of Juarez, the Salem witches, and Chicana lesbian feminists, Gaspar de Alba realized that what links these historically and socially diverse figures is that they all fall into the category of "bad women," as defined by their place, culture, and time, and all have been punished as well as remembered for rebelling against the "frames" imposed on them by capitalist patriarchal discourses. In [Un]Framing the "Bad Woman," Gaspar de Alba revisits and expands several of her published articles and presents three new essays to analyze how specific brown/female bodies have been framed by racial, social, cultural, sexual, national/regional, historical, and religious discourses of identity-as well as how Chicanas can be liberated from these frames. Employing interdisciplinary methodologies of activist scholarship that draw from art, literature, history, politics, popular culture, and feminist theory, she shows how the "bad women" who interest her are transgressive bodies that refuse to cooperate with patriarchal dictates about what constitutes a "good woman" and that queer/alter the male-centric and heteronormative history, politics, and consciousness of Chicano/Mexicano culture. By "unframing" these bad women and rewriting their stories within a revolutionary frame, Gaspar de Alba offers her companeras and fellow luchadoras empowering models of struggle, resistance, and rebirth.

In the early 1990s, a major exhibition Chicano Art: Resistance and Affirmation, 1965-1985 toured major museums around the United States. As a first attempt to define and represent Chicano/a art for a national audience, the exhibit attracted both praise and controversy, while raising fundamental questions about the nature of multiculturalism in the U.S.

This book presents the first interdisciplinary cultural study of the CARA exhibit. Alicia Gaspar de Alba looks at the exhibit as a cultural text in which the Chicano/a community affirmed itself not as a "subculture" within the U.S. but as an "alter-Native" culture in opposition to the exclusionary and homogenizing practices of mainstream institutions. She also shows how the exhibit reflected the cultural and sexual politics of the Chicano Movement and how it serves as a model of Chicano/a popular culture more generally.

Drawing insights from cultural studies, feminist theory, anthropology, and semiotics, this book constitutes a wide-ranging analysis of Chicano/a art, popular culture, and mainstream cultural politics. It will appeal to a diverse audience in all of these fields.