SAT 2023 Practice
Judithe Hernandez and the Chicana Artistic Voice Judithe Hernandez's art career began in Los Angeles during the socially and politically turbulent 1960s. While enrolled as a graduate student at the Otis Art Institute in Los Angeles, Hernandez met fellow student Carlos Almaraz, one of the founding 1[Marker for question 1] members of the Chicano artist collective known as "Los Four." At Almaraz's request, Hernandez joined "Los Four" as its fifth, and only female, member. Hernandez became well known for her work with this revolutionary group of artists, who are credited with 2[Marker for question 2] authorizing Chicano art as its own distinctive school of (US) American art. 3[Marker for question 3] Less known but equally important, however, is the role Hernandez played in providing a female voice within what was at that time a predominantly male Chicano art movement. Chicano art began as an outgrowth of the more general Chicano Civil Rights 4[Marker for question 4] Movement;_ a sociopolitical initiative that began in the 1960s to promote social progress and change for Mexican-Americans. 5[Marker for question 5] Chicano artists sought to mirror the challenges faced by Mexican-Americans, often by challenging the xenophobic stereotypes of Mexican-Americans in American culture. However, since the vast majority of Chicano artists esere men, much of the Chicano artwork of the 1960s and early 1970s represented the experiences of Mexican-American men, failing to represent some of the unique struggles faced by their female counterparts. 6[Marker for question 6] During her time with "Los Four," Hernandez developed a distinct visual style as she incorporated indigenous images along with figurative portrayals of Hispanic women, often restrained by elements such as vines or thorns. The significance of her contributions to the Chicano art movement 7[Marker for question 7] were recognized as early as 1981, when Hernandez was commissioned by the Los Angeles Bicentennial Committee to produce a mural in celebration of the city's 200th anniversary. 8[Marker for question 8] The mural portrays La Reina de Los Angeles (the patroness of the city) engaging with images of the past and present. In it, Hernandez juxtaposes images of male and female farmers with more opulent depictions of modern Los Angeles, 9[Marker for question 9] but underscoring the invaluable work of Mexican-American men and women in the construction of the city. Since the 1970s, Hernandez has exhibited additional forms of visual art beyond the mural work that characterized much of her early career. In her recent pastel-on-paper series entitled "Adam and Eve," Hernandez uses iconic religious images to highlight the 10[Marker for question 10] unequal, gender relations in Chicano culture. Through works such as these, Hernandez continues to provide a voice for Chicano 11[Marker for question 11] women. Highlighting the unique challenges that they face in America every day Question 6: At this point, the writer wants to provide a transition that effectively links the topics of the second and third paragraphs. Which choice best accomplishes this goal?
As one of the first prominent US artists to depict the experience of Mexican-American women, Judithe Hernandez played a vital role in the Chicano art movement.
Which statement is not a detail from the passage?
Baroreceptors are rigid and static nerve endings that are contained along the arterial walls and send out messages along the nerve pathway.
Playing the piano requires daily practice,_ a musical ear, and lyrical talent.
No Change
Squirrels-characterized by their cute faces,_ twitching tails, and energetic foraging practices-are quite intelligent survivalists. They are known to put on bogus food burying displays to throw thieving animals off their track.
No Change
The Whitney Footbridge in Minneapolis features an engraving of a John Ashbery poem; pedestrians can read the poem as they walk.
No Change
When interviewing for a job, three things you should never do are show up late,_ talk about how hard it is to find work, or criticize your former employer.
No Change
Judithe Hernandez and the Chicana Artistic Voice Judithe Hernandez's art career began in Los Angeles during the socially and politically turbulent 1960s. While enrolled as a graduate student at the Otis Art Institute in Los Angeles, Hernandez met fellow student Carlos Almaraz, one of the founding 1[Marker for question 1] members of the Chicano artist collective known as "Los Four." At Almaraz's request, Hernandez joined "Los Four" as its fifth, and only female, member. Hernandez became well known for her work with this revolutionary group of artists, who are credited with 2[Marker for question 2] authorizing Chicano art as its own distinctive school of (US) American art. 3[Marker for question 3] Less known but equally important, however, is the role Hernandez played in providing a female voice within what was at that time a predominantly male Chicano art movement. Chicano art began as an outgrowth of the more general Chicano Civil Rights 4[Marker for question 4] Movement;_ a sociopolitical initiative that began in the 1960s to promote social progress and change for Mexican-Americans. 5[Marker for question 5] Chicano artists sought to mirror the challenges faced by Mexican-Americans, often by challenging the xenophobic stereotypes of Mexican-Americans in American culture. However, since the vast majority of Chicano artists were men, much of the Chicano artwork of the 1960s and early 1970s represented the experiences of Mexican-American men, failing to represent some of the unique struggles faced by their female counterparts. 6[Marker for question 6] During her time with "Los Four," Hernandez developed a distinct visual style as she incorporated indigenous images along with figurative portrayals of Hispanic women, often restrained by elements such as vines or thorns. The significance of her contributions to the Chicano art movement 7[Marker for question 7] were recognized as early as 1981, when Hernandez was commissioned by the Los Angeles Bicentennial Committee to produce a mural in celebration of the city's 200th anniversary. 8[Marker for question 8] The mural portrays La Reina de Los Angeles (the patroness of the city) engaging with images of the past and present. In it, Hernandez juxtaposes images of male and female farmers with more opulent depictions of modern Los Angeles, 9[Marker for question 9] but underscoring the invaluable work of Mexican-American men and women in the construction of the city. Since the 1970s, Hernandez has exhibited additional forms of visual art beyond the mural work that characterized much of her early career. In her recent pastel-on-paper series entitled "Adam and Eve," Hernandez uses iconic religious images to highlight the 10[Marker for question 10] unequal, gender relations in Chicano culture. Through works such as these, Hernandez continues to provide a voice for Chicano 11[Marker for question 11] women. Highlighting the unique challenges that they face in America every day Question 5: The writer is considering deleting the underlined sentence. Should the writer make this deletion?
No, because it helps to develop the main topic of the paragraph.
Judithe Hernandez and the Chicana Artistic Voice Judithe Hernandez's art career began in Los Angeles during the socially and politically turbulent 1960s. While enrolled as a graduate student at the Otis Art Institute in Los Angeles, Hernandez met fellow student Carlos Almaraz, one of the founding 1[Marker for question 1] members of the Chicano artist collective known as "Los Four." At Almaraz's request, Hernandez joined "Los Four" as its fifth, and only female, member. Hernandez became well known for her work with this revolutionary group of artists, who are credited with 2[Marker for question 2] authorizing Chicano art as its own distinctive school of (US) American art. 3[Marker for question 3] Less known but equally important, however, is the role Hernandez played in providing a female voice within what was at that time a predominantly male Chicano art movement. Chicano art began as an outgrowth of the more general Chicano Civil Rights 4[Marker for question 4] Movement;_ a sociopolitical initiative that began in the 1960s to promote social progress and change for Mexican-Americans. 5[Marker for question 5] Chicano artists sought to mirror the challenges faced by Mexican-Americans, often by challenging the xenophobic stereotypes of Mexican-Americans in American culture. However, since the vast majority of Chicano artists esere men, much of the Chicano artwork of the 1960s and early 1970s represented the experiences of Mexican-American men, failing to represent some of the unique struggles faced by their female counterparts. 6[Marker for question 6] During her time with "Los Four," Hernandez developed a distinct visual style as she incorporated indigenous images along with figurative portrayals of Hispanic women, often restrained by elements such as vines or thorns. The significance of her contributions to the Chicano art movement 7[Marker for question 7] were recognized as early as 1981, when Hernandez was commissioned by the Los Angeles Bicentennial Committee to produce a mural in celebration of the city's 200th anniversary. 8[Marker for question 8] The mural portrays La Reina de Los Angeles (the patroness of the city) engaging with images of the past and present. In it, Hernandez juxtaposes images of male and female farmers with more opulent depictions of modern Los Angeles, 9[Marker for question 9] but underscoring the invaluable work of Mexican-American men and women in the construction of the city. Since the 1970s, Hernandez has exhibited additional forms of visual art beyond the mural work that characterized much of her early career. In her recent pastel-on-paper series entitled "Adam and Eve," Hernandez uses iconic religious images to highlight the 10[Marker for question 10] unequal, gender relations in Chicano culture. Through works such as these, Hernandez continues to provide a voice for Chicano 11[Marker for question 11] women. Highlighting the unique challenges that they face in America every day Question 8: The writer wants to smoothly incorporate the mural's title, "Remembrances of Yesterday, Dreams of Tomorrow", into the underlined sentence. Which choice most effectively accomplishes this goal?
The mural, entitled" Remembrances of Yesterday, Dreams of Tomorrow", portrays La Renia de Los Angeles(the patroness of the city) engaging with images of the past and present.
. What is the best summary of this passage?
There are several systems to maintain the natural functions and processes of the body. One system is the cardiovascular system, which regulates blood pressure through baroreceptors, chemoreceptors, and the kidneys.
What is the meaning of the word evolved in the first paragraph?
To gradually develop
What is the writer's primary purpose in writing this essay?
To inform the reader how the cardiovascular system regulates blood pressure
It is a surprise that the American rapper Vanilla Ice was not owning a personal ice cream brand.
does not own
Before our conversation yesterday, Paul has never heard the word "brouhaha." Now he hears it everywhere he goes.
had never heard
Raising kids requires a steady stream of income: a huge investment of time, and a lot of tender loving care
income,
Ellen DeGeneres, who had her first major debut in 1986, recently was launching a new lifestyle brand.
launched
Free-range pigs were once used to clean up waste in New York City but were removed due to complaints from European visitors: pressure from wealthy locals, and false perceptions about cleanliness.
visitors,
Despite being raised in a time and place in which black students were prevented or discouraged from attaining higher education, Percy Julian went on to become a PhD and a successful chemist. His most famous invention were Aero-Foam, a soy protein fire extinguisher used in World War II.
was
Judithe Hernandez and the Chicana Artistic Voice Judithe Hernandez's art career began in Los Angeles during the socially and politically turbulent 1960s. While enrolled as a graduate student at the Otis Art Institute in Los Angeles, Hernandez met fellow student Carlos Almaraz, one of the founding 1[Marker for question 1] members of the Chicano artist collective known as "Los Four." At Almaraz's request, Hernandez joined "Los Four" as its fifth, and only female, member. Hernandez became well known for her work with this revolutionary group of artists, who are credited with 2[Marker for question 2] authorizing Chicano art as its own distinctive school of (US) American art. 3[Marker for question 3] Less known but equally important, however, is the role Hernandez played in providing a female voice within what was at that time a predominantly male Chicano art movement. Chicano art began as an outgrowth of the more general Chicano Civil Rights 4[Marker for question 4] Movement;_ a sociopolitical initiative that began in the 1960s to promote social progress and change for Mexican-Americans. 5[Marker for question 5] Chicano artists sought to mirror the challenges faced by Mexican-Americans, often by challenging the xenophobic stereotypes of Mexican-Americans in American culture. However, since the vast majority of Chicano artists esere men, much of the Chicano artwork of the 1960s and early 1970s represented the experiences of Mexican-American men, failing to represent some of the unique struggles faced by their female counterparts. 6[Marker for question 6] During her time with "Los Four," Hernandez developed a distinct visual style as she incorporated indigenous images along with figurative portrayals of Hispanic women, often restrained by elements such as vines or thorns. The significance of her contributions to the Chicano art movement 7[Marker for question 7] were recognized as early as 1981, when Hernandez was commissioned by the Los Angeles Bicentennial Committee to produce a mural in celebration of the city's 200th anniversary. 8[Marker for question 8] The mural portrays La Reina de Los Angeles (the patroness of the city) engaging with images of the past and present. In it, Hernandez juxtaposes images of male and female farmers with more opulent depictions of modern Los Angeles, 9[Marker for question 9] but underscoring the invaluable work of Mexican-American men and women in the construction of the city. Since the 1970s, Hernandez has exhibited additional forms of visual art beyond the mural work that characterized much of her early career. In her recent pastel-on-paper series entitled "Adam and Eve," Hernandez uses iconic religious images to highlight the 10[Marker for question 10] unequal, gender relations in Chicano culture. Through works such as these, Hernandez continues to provide a voice for Chicano 11[Marker for question 11] women. Highlighting the unique challenges that they face in America every day Question 11
women, highlighting.
!The body is composed of systems that have evolved and diversified in order to maintain the natural functions and processes they regulate. One such system that has these regulators is the body's cardiovascular system. The body's pump, which regulates the flow of vitally needed oxygen to all cells of the body, as well as the discard of carbon dioxide and other waste products, is the heart. Because blood pressure varies at different points within the body, differing components are needed to keep the body's blood pressure regulated. Three of the basic components are baroreceptors, chemoreceptors, and the kidneys. Baroreceptors are stretch receptors composed of fine branching nerve endings and are contained along the walls of the arteries near the heart and in other areas of the body as well. Impulses are related to this stretching along the arterial walls, which causes these baroreceptors to send out even more impulses to the heart, arteries, and veins, causing the blood pressure to go either up or down. Chemoreceptors are located along the walls of the arteries and monitor changes in oxygen level, carbon dioxide, and pH. Just think! A fall in oxygen causes receptors to send impulses to raise the blood pressure. The kidneys play a role in regulating blood pressure by absorbing salts and water and removing wastes. Hormones secreted by the adrenal cortex cause the kidney to keep or let go of any salt and water. This has an influence on blood volume and consequently on blood pressure. What is the main idea of the passage?
D. Blood pressure can be regulated through baroreceptors, chemoreceptors, and the kidneys.
Judithe Hernandez and the Chicana Artistic Voice Judithe Hernandez's art career began in Los Angeles during the socially and politically turbulent 1960s. While enrolled as a graduate student at the Otis Art Institute in Los Angeles, Hernandez met fellow student Carlos Almaraz, one of the founding 1[Marker for question 1] members of the Chicano artist collective known as "Los Four." At Almaraz's request, Hernandez joined "Los Four" as its fifth, and only female, member. Hernandez became well known for her work with this revolutionary group of artists, who are credited with 2[Marker for question 2] authorizing Chicano art as its own distinctive school of (US) American art. 3[Marker for question 3] Less known but equally important, however, is the role Hernandez played in providing a female voice within what was at that time a predominantly male Chicano art movement. Chicano art began as an outgrowth of the more general Chicano Civil Rights 4[Marker for question 4] Movement;_ a sociopolitical initiative that began in the 1960s to promote social progress and change for Mexican-Americans. 5[Marker for question 5] Chicano artists sought to mirror the challenges faced by Mexican-Americans, often by challenging the xenophobic stereotypes of Mexican-Americans in American culture. However, since the vast majority of Chicano artists were men, much of the Chicano artwork of the 1960s and early 1970s represented the experiences of Mexican-American men, failing to represent some of the unique struggles faced by their female counterparts. 6[Marker for question 6] During her time with "Los Four," Hernandez developed a distinct visual style as she incorporated indigenous images along with figurative portrayals of Hispanic women, often restrained by elements such as vines or thorns. The significance of her contributions to the Chicano art movement 7[Marker for question 7] were recognized as early as 1981, when Hernandez was commissioned by the Los Angeles Bicentennial Committee to produce a mural in celebration of the city's 200th anniversary. 8[Marker for question 8] The mural portrays La Reina de Los Angeles (the patroness of the city) engaging with images of the past and present. In it, Hernandez juxtaposes images of male and female farmers with more opulent depictions of modern Los Angeles, 9[Marker for question 9] but underscoring the invaluable work of Mexican-American men and women in the construction of the city. Since the 1970s, Hernandez has exhibited additional forms of visual art beyond the mural work that characterized much of her early career. In her recent pastel-on-paper series entitled "Adam and Eve," Hernandez uses iconic religious images to highlight the 10[Marker for question 10] unequal, gender relations in Chicano culture. Through works such as these, Hernandez continues to provide a voice for Chicano 11[Marker for question 11] women. Highlighting the unique challenges that they face in America every day. Question 4
Movement-
Judithe Hernandez and the Chicana Artistic Voice Judithe Hernandez's art career began in Los Angeles during the socially and politically turbulent 1960s. While enrolled as a graduate student at the Otis Art Institute in Los Angeles, Hernandez met fellow student Carlos Almaraz, one of the founding 1[Marker for question 1] members of the Chicano artist collective known as "Los Four." At Almaraz's request, Hernandez joined "Los Four" as its fifth, and only female, member. Hernandez became well known for her work with this revolutionary group of artists, who are credited with 2[Marker for question 2] authorizing Chicano art as its own distinctive school of (US) American art. 3[Marker for question 3] Less known but equally important, however, is the role Hernandez played in providing a female voice within what was at that time a predominantly male Chicano art movement. Chicano art began as an outgrowth of the more general Chicano Civil Rights 4[Marker for question 4] Movement;_ a sociopolitical initiative that began in the 1960s to promote social progress and change for Mexican-Americans. 5[Marker for question 5] Chicano artists sought to mirror the challenges faced by Mexican-Americans, often by challenging the xenophobic stereotypes of Mexican-Americans in American culture. However, since the vast majority of Chicano artists were men, much of the Chicano artwork of the 1960s and early 1970s represented the experiences of Mexican-American men, failing to represent some of the unique struggles faced by their female counterparts. 6[Marker for question 6] During her time with "Los Four," Hernandez developed a distinct visual style as she incorporated indigenous images along with figurative portrayals of Hispanic women, often restrained by elements such as vines or thorns. The significance of her contributions to the Chicano art movement 7[Marker for question 7] were recognized as early as 1981, when Hernandez was commissioned by the Los Angeles Bicentennial Committee to produce a mural in celebration of the city's 200th anniversary. 8[Marker for question 8] The mural portrays La Reina de Los Angeles (the patroness of the city) engaging with images of the past and present. In it, Hernandez juxtaposes images of male and female farmers with more opulent depictions of modern Los Angeles, 9[Marker for question 9] but underscoring the invaluable work of Mexican-American men and women in the construction of the city. Since the 1970s, Hernandez has exhibited additional forms of visual art beyond the mural work that characterized much of her early career. In her recent pastel-on-paper series entitled "Adam and Eve," Hernandez uses iconic religious images to highlight the 10[Marker for question 10] unequal, gender relations in Chicano culture. Through works such as these, Hernandez continues to provide a voice for Chicano 11[Marker for question 11] women. Highlighting the unique challenges that they face in America every day. QUESTION 1
No change
Judithe Hernandez and the Chicana Artistic Voice Judithe Hernandez's art career began in Los Angeles during the socially and politically turbulent 1960s. While enrolled as a graduate student at the Otis Art Institute in Los Angeles, Hernandez met fellow student Carlos Almaraz, one of the founding 1[Marker for question 1] members of the Chicano artist collective known as "Los Four." At Almaraz's request, Hernandez joined "Los Four" as its fifth, and only female, member. Hernandez became well known for her work with this revolutionary group of artists, who are credited with 2[Marker for question 2] authorizing Chicano art as its own distinctive school of (US) American art. 3[Marker for question 3] Less known but equally important, however, is the role Hernandez played in providing a female voice within what was at that time a predominantly male Chicano art movement. Chicano art began as an outgrowth of the more general Chicano Civil Rights 4[Marker for question 4] Movement;_ a sociopolitical initiative that began in the 1960s to promote social progress and change for Mexican-Americans. 5[Marker for question 5] Chicano artists sought to mirror the challenges faced by Mexican-Americans, often by challenging the xenophobic stereotypes of Mexican-Americans in American culture. However, since the vast majority of Chicano artists were men, much of the Chicano artwork of the 1960s and early 1970s represented the experiences of Mexican-American men, failing to represent some of the unique struggles faced by their female counterparts. 6[Marker for question 6] During her time with "Los Four," Hernandez developed a distinct visual style as she incorporated indigenous images along with figurative portrayals of Hispanic women, often restrained by elements such as vines or thorns. The significance of her contributions to the Chicano art movement 7[Marker for question 7] were recognized as early as 1981, when Hernandez was commissioned by the Los Angeles Bicentennial Committee to produce a mural in celebration of the city's 200th anniversary. 8[Marker for question 8] The mural portrays La Reina de Los Angeles (the patroness of the city) engaging with images of the past and present. In it, Hernandez juxtaposes images of male and female farmers with more opulent depictions of modern Los Angeles, 9[Marker for question 9] but underscoring the invaluable work of Mexican-American men and women in the construction of the city. Since the 1970s, Hernandez has exhibited additional forms of visual art beyond the mural work that characterized much of her early career. In her recent pastel-on-paper series entitled "Adam and Eve," Hernandez uses iconic religious images to highlight the 10[Marker for question 10] unequal, gender relations in Chicano culture. Through works such as these, Hernandez continues to provide a voice for Chicano 11[Marker for question 11] women. Highlighting the unique challenges that they face in America every day. Question 3
No change
Judithe Hernandez and the Chicana Artistic Voice Judithe Hernandez's art career began in Los Angeles during the socially and politically turbulent 1960s. While enrolled as a graduate student at the Otis Art Institute in Los Angeles, Hernandez met fellow student Carlos Almaraz, one of the founding 1[Marker for question 1] members of the Chicano artist collective known as "Los Four." At Almaraz's request, Hernandez joined "Los Four" as its fifth, and only female, member. Hernandez became well known for her work with this revolutionary group of artists, who are credited with 2[Marker for question 2] authorizing Chicano art as its own distinctive school of (US) American art. 3[Marker for question 3] Less known but equally important, however, is the role Hernandez played in providing a female voice within what was at that time a predominantly male Chicano art movement. Chicano art began as an outgrowth of the more general Chicano Civil Rights 4[Marker for question 4] Movement;_ a sociopolitical initiative that began in the 1960s to promote social progress and change for Mexican-Americans. 5[Marker for question 5] Chicano artists sought to mirror the challenges faced by Mexican-Americans, often by challenging the xenophobic stereotypes of Mexican-Americans in American culture. However, since the vast majority of Chicano artists esere men, much of the Chicano artwork of the 1960s and early 1970s represented the experiences of Mexican-American men, failing to represent some of the unique struggles faced by their female counterparts. 6[Marker for question 6] During her time with "Los Four," Hernandez developed a distinct visual style as she incorporated indigenous images along with figurative portrayals of Hispanic women, often restrained by elements such as vines or thorns. The significance of her contributions to the Chicano art movement 7[Marker for question 7] were recognized as early as 1981, when Hernandez was commissioned by the Los Angeles Bicentennial Committee to produce a mural in celebration of the city's 200th anniversary. 8[Marker for question 8] The mural portrays La Reina de Los Angeles (the patroness of the city) engaging with images of the past and present. In it, Hernandez juxtaposes images of male and female farmers with more opulent depictions of modern Los Angeles, 9[Marker for question 9] but underscoring the invaluable work of Mexican-American men and women in the construction of the city. Since the 1970s, Hernandez has exhibited additional forms of visual art beyond the mural work that characterized much of her early career. In her recent pastel-on-paper series entitled "Adam and Eve," Hernandez uses iconic religious images to highlight the 10[Marker for question 10] unequal, gender relations in Chicano culture. Through works such as these, Hernandez continues to provide a voice for Chicano 11[Marker for question 11] women. Highlighting the unique challenges that they face in America every day Question 7
Was
Judithe Hernandez and the Chicana Artistic Voice Judithe Hernandez's art career began in Los Angeles during the socially and politically turbulent 1960s. While enrolled as a graduate student at the Otis Art Institute in Los Angeles, Hernandez met fellow student Carlos Almaraz, one of the founding 1[Marker for question 1] members of the Chicano artist collective known as "Los Four." At Almaraz's request, Hernandez joined "Los Four" as its fifth, and only female, member. Hernandez became well known for her work with this revolutionary group of artists, who are credited with 2[Marker for question 2] authorizing Chicano art as its own distinctive school of (US) American art. 3[Marker for question 3] Less known but equally important, however, is the role Hernandez played in providing a female voice within what was at that time a predominantly male Chicano art movement. Chicano art began as an outgrowth of the more general Chicano Civil Rights 4[Marker for question 4] Movement;_ a sociopolitical initiative that began in the 1960s to promote social progress and change for Mexican-Americans. 5[Marker for question 5] Chicano artists sought to mirror the challenges faced by Mexican-Americans, often by challenging the xenophobic stereotypes of Mexican-Americans in American culture. However, since the vast majority of Chicano artists were men, much of the Chicano artwork of the 1960s and early 1970s represented the experiences of Mexican-American men, failing to represent some of the unique struggles faced by their female counterparts. 6[Marker for question 6] During her time with "Los Four," Hernandez developed a distinct visual style as she incorporated indigenous images along with figurative portrayals of Hispanic women, often restrained by elements such as vines or thorns. The significance of her contributions to the Chicano art movement 7[Marker for question 7] were recognized as early as 1981, when Hernandez was commissioned by the Los Angeles Bicentennial Committee to produce a mural in celebration of the city's 200th anniversary. 8[Marker for question 8] The mural portrays La Reina de Los Angeles (the patroness of the city) engaging with images of the past and present. In it, Hernandez juxtaposes images of male and female farmers with more opulent depictions of modern Los Angeles, 9[Marker for question 9] but underscoring the invaluable work of Mexican-American men and women in the construction of the city. Since the 1970s, Hernandez has exhibited additional forms of visual art beyond the mural work that characterized much of her early career. In her recent pastel-on-paper series entitled "Adam and Eve," Hernandez uses iconic religious images to highlight the 10[Marker for question 10] unequal, gender relations in Chicano culture. Through works such as these, Hernandez continues to provide a voice for Chicano 11[Marker for question 11] women. Highlighting the unique challenges that they face in America every day. Question 2
establishing
Judithe Hernandez and the Chicana Artistic Voice Judithe Hernandez's art career began in Los Angeles during the socially and politically turbulent 1960s. While enrolled as a graduate student at the Otis Art Institute in Los Angeles, Hernandez met fellow student Carlos Almaraz, one of the founding 1[Marker for question 1] members of the Chicano artist collective known as "Los Four." At Almaraz's request, Hernandez joined "Los Four" as its fifth, and only female, member. Hernandez became well known for her work with this revolutionary group of artists, who are credited with 2[Marker for question 2] authorizing Chicano art as its own distinctive school of (US) American art. 3[Marker for question 3] Less known but equally important, however, is the role Hernandez played in providing a female voice within what was at that time a predominantly male Chicano art movement. Chicano art began as an outgrowth of the more general Chicano Civil Rights 4[Marker for question 4] Movement;_ a sociopolitical initiative that began in the 1960s to promote social progress and change for Mexican-Americans. 5[Marker for question 5] Chicano artists sought to mirror the challenges faced by Mexican-Americans, often by challenging the xenophobic stereotypes of Mexican-Americans in American culture. However, since the vast majority of Chicano artists esere men, much of the Chicano artwork of the 1960s and early 1970s represented the experiences of Mexican-American men, failing to represent some of the unique struggles faced by their female counterparts. 6[Marker for question 6] During her time with "Los Four," Hernandez developed a distinct visual style as she incorporated indigenous images along with figurative portrayals of Hispanic women, often restrained by elements such as vines or thorns. The significance of her contributions to the Chicano art movement 7[Marker for question 7] were recognized as early as 1981, when Hernandez was commissioned by the Los Angeles Bicentennial Committee to produce a mural in celebration of the city's 200th anniversary. 8[Marker for question 8] The mural portrays La Reina de Los Angeles (the patroness of the city) engaging with images of the past and present. In it, Hernandez juxtaposes images of male and female farmers with more opulent depictions of modern Los Angeles, 9[Marker for question 9] but underscoring the invaluable work of Mexican-American men and women in the construction of the city. Since the 1970s, Hernandez has exhibited additional forms of visual art beyond the mural work that characterized much of her early career. In her recent pastel-on-paper series entitled "Adam and Eve," Hernandez uses iconic religious images to highlight the 10[Marker for question 10] unequal, gender relations in Chicano culture. Through works such as these, Hernandez continues to provide a voice for Chicano 11[Marker for question 11] women. Highlighting the unique challenges that they face in America every day Question 9
underscoring
Judithe Hernandez and the Chicana Artistic Voice Judithe Hernandez's art career began in Los Angeles during the socially and politically turbulent 1960s. While enrolled as a graduate student at the Otis Art Institute in Los Angeles, Hernandez met fellow student Carlos Almaraz, one of the founding 1[Marker for question 1] members of the Chicano artist collective known as "Los Four." At Almaraz's request, Hernandez joined "Los Four" as its fifth, and only female, member. Hernandez became well known for her work with this revolutionary group of artists, who are credited with 2[Marker for question 2] authorizing Chicano art as its own distinctive school of (US) American art. 3[Marker for question 3] Less known but equally important, however, is the role Hernandez played in providing a female voice within what was at that time a predominantly male Chicano art movement. Chicano art began as an outgrowth of the more general Chicano Civil Rights 4[Marker for question 4] Movement;_ a sociopolitical initiative that began in the 1960s to promote social progress and change for Mexican-Americans. 5[Marker for question 5] Chicano artists sought to mirror the challenges faced by Mexican-Americans, often by challenging the xenophobic stereotypes of Mexican-Americans in American culture. However, since the vast majority of Chicano artists esere men, much of the Chicano artwork of the 1960s and early 1970s represented the experiences of Mexican-American men, failing to represent some of the unique struggles faced by their female counterparts. 6[Marker for question 6] During her time with "Los Four," Hernandez developed a distinct visual style as she incorporated indigenous images along with figurative portrayals of Hispanic women, often restrained by elements such as vines or thorns. The significance of her contributions to the Chicano art movement 7[Marker for question 7] were recognized as early as 1981, when Hernandez was commissioned by the Los Angeles Bicentennial Committee to produce a mural in celebration of the city's 200th anniversary. 8[Marker for question 8] The mural portrays La Reina de Los Angeles (the patroness of the city) engaging with images of the past and present. In it, Hernandez juxtaposes images of male and female farmers with more opulent depictions of modern Los Angeles, 9[Marker for question 9] but underscoring the invaluable work of Mexican-American men and women in the construction of the city. Since the 1970s, Hernandez has exhibited additional forms of visual art beyond the mural work that characterized much of her early career. In her recent pastel-on-paper series entitled "Adam and Eve," Hernandez uses iconic religious images to highlight the 10[Marker for question 10] unequal, gender relations in Chicano culture. Through works such as these, Hernandez continues to provide a voice for Chicano 11[Marker for question 11] women. Highlighting the unique challenges that they face in America every day Question 10
unequal gender
