Laura Aguilar

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Laura Aguilar (born 1959)[1] is an American photographer. Her work focuses on the experiences of often marginalized people such as black women, lesbians, and the obese, as well as the perception of her own body.[2][3]

Personal background[edit]

Aguilar is the daughter of a first-generation Mexican-American father, while her mother is of mixed Mexican and Irish heritage.[4] She has auditory dyslexia and developed an early interest in photography as a medium.[4] She attended Shurr High School in Montebello, California where she met Gil Cuadros, a Mexican-American poet who was diagnosed with AIDS in 1987. Both Aguilar and Cuadros met in a photography class. Cuadros would accompany Aguilar to Downtown, Los Angeles for pictures.

Career[edit]

Aguilar has been active as a photographer since the 1980s,[5] She is mainly self-taught, though studied for a time at East Los Angeles Community College and participated in The Friends of Photography Workshop and Santa Fe Photographic Workshop.[3]

Aguilar works primarily in the genre of portraiture. Her work centers on the human form[4] and challenges contemporary social constructs of beauty, focusing on Latina lesbians, black people, and the obese.[1] She often uses self-portraiture to come to terms with her own body as she challenges societal norms of sexuality, class, gender, and race.[6][7] In her series Stillness (1996–99), Motion (1999) and Center (2001), she fuses portraiture with the genres of landscape and still life.[4]

Critics and scholars closely identify Aguilar's work with Chicana feminism; one writer observes that "Aguilar consciously moves away from the societally normative images of Chicana female bodies and disassociates them from male-centered nostalgia or idealizations."[8] Chon A. Noriega, director of the Chicano Studies Research Center at University of California, Los Angeles, notes that Aguilar is unusual for the way she "collaborates with subjects who are her peers so that her works is not about power differentials between photographer and subject as is often, if implicitly the case with ... the social documentary tradition itself."[9] Her more recent self-portraits navigate her personal intersection of identities as Latina, lesbian, dyslexic, and obese.[10] Her photographic series include Latina Lesbians (1986–89; probably her best-known series),[4] Clothed/Unclothed (1990–94), Plush Pony (1992), and Grounded (2006–07), with the latter being her first body of work done in color.

Aguilar's works have appeared in more than 50 national and international exhibitions,[11] including the 1993 Venice Biennial, Italy; the Los Angeles City Hall Bridge Gallery, the Los Angeles Contemporary Exhibitions (LACE), the Los Angeles Photography Center, and the Women's Center Gallery at the University of California in Santa Barbara.[12][13] She was a 2000 recipient of an Anonymous Was A Woman Award and the James D. Phelan Award in photography in 1995.[14] Her work is in held in a number of public collections, including ones at the Kinsey Institute for Research in Sex, Gender, and Reproduction, Indiana University, Bloomington; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; and the New Museum of Contemporary Art, New York City.[15][16]

Aguilar has her first retrospective scheduled at the Vincent Price Art Museum at East Los Angeles College as part of the Pacific Standard Time LA/LA series of exhibitions in 2017–18.[17] It is being organized in collaboration with the UCLA Chicano Studies Research Center and is funded in part by the Getty Initiative.[17]

References[edit]

  1. ^ a b Lopez, Alma. "Queer Arts in Los Angeles: Laura Aguilar". almalopez.com. 
  2. ^ Valladolid, Patricia. "the private and the public in the photography of laura aguilar". UCLA Center for the Study of Women. CSW Update Newsletter. Retrieved 9 March 2015. 
  3. ^ a b "Aguilar, Laura". Social Networks and Archival Context Project. Retrieved 9 March 2015. 
  4. ^ a b c d e Leimer, Ann Marie (2008). "Chicana Photography: The Power of Place". National Association for Chicana and Chicano Studies Annual Conference. Retrieved 10 April 2016. 
  5. ^ Haggerty, George E.; Zimmerman, Bonnie (2000). Encyclopedia of Lesbian and Gay Histories and Cultures. p. 65. 
  6. ^ Smith, Sidonie Ann; Watson, Julia Anne (2002). Interfaces: Women, Autobiography, Image, Performance. p. 69. 
  7. ^ Rojas, Maythee (2009). Women of Color and Feminism. p. 130. 
  8. ^ Perez, Daniel (2013). "Chicana Aesthtics: A View of Unconcealed Alterities and Affirmations of Chicana Identity through Laura Aguilar's Photographic Images". Lux: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University. Retrieved 2015-03-10. 
  9. ^ Noriega, Chon (May 2008). "Laura Aguilar: Clothed Unclothed: Challenging Normative Conceptions of the Body" (PDF). Newsletter of the UCLA Center for the Study of Women. Archived from the original on September 15, 2015. Retrieved 2015-03-19. 
  10. ^ Ressler, Susan. "Women Artists of the American West: Lesbian Photography on the U.S. West Coast 1972-1997". Women Artists of the American West. Purdue University, West Lafayette, India. Retrieved 2015-03-10. 
  11. ^ "Biography of Laura Aguilar". Susanne Vielmetter Los Angeles Projects. Retrieved 2015-03-10. 
  12. ^ Fuller, Diana Burgess; Salvioni, Daniela (2002). Art, Women, California 1950-2000: Parallels and Intersections. p. 254. 
  13. ^ Ruiz, Vicki L.; Korrol, Virginia Sánchez (2006). Latinas in the United States: A Historical Encyclopedia. p. 64. 
  14. ^ Bright, Deborah (1998). The Passionate Camera: Photography and Bodies of Desire. Psychology Press. ISBN 978-0-415-14582-4. 
  15. ^ "Laura Aguilar: LACMA Collections". collections.lacma.org. Retrieved 2016-04-10. 
  16. ^ "Laura Aguilar". The Museum of Contemporary Art, Los Angeles. Retrieved 2016-04-10. 
  17. ^ a b "Pacific Standard Time LA/LA: Laura Aguilar Retrospective Fact Sheet". Vincent Price Art Museum. 2014-04-30. Retrieved 2015-03-15. 

Further reading[edit]

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