Having lived both experiences—that of a Puerto Rican and Nuyorican—Osorio is best known for large-scale installations that address street life, cultural clashes, and the rites of passage experienced by Puerto Ricans in the United States. Outside the traditional museum setting, and commissioned by Real Art Ways (RAW) from Hartford, Connecticut, En la barberia no se llora (No Crying Allowed in the Babershop) is a mixed-media installation located in the Puerto Rican community of Park Street in Hartford. Created in collaboration with local residents, Osorio engaged the public through conversation, workshops, and artistic collaborations. The art itself is visually lavish—his installations have often been dubbed “Nuyorican Baroque” (a reference to the seventeenth-century style characterized by theatricality and opulence and found in both Europe and Latin America). For En la barbería no se llora (No crying in the barbershop), 1994, the artist addressed the reproduction of masculinity and machismo in the context of a faux barbershop complete with ornate, thematically decorated barber’s chairs, video images of grown men crying, and free haircuts for visitors off the street.

Tourist Souvenir Amber Ward, PhD ART 135 Sacramento State

Create a tourist souvenir reflective of where you live or have lived

Artwork by Jeff Carter & Susan Giles Security 2007 Viewfinder 1999 Corrected Postcard 2003 Wayang Kulit Turis (Tourist Puppets) 1999 JEFF CARTER: Jeff Carter lives and works in Chicago. He is Associate Professor in the Department of Art, Media and Design at DePaul University. Jeff earned his BFA at the University of Colorado, Boulder (1992) and his MFA at The School of the Art Institute of Chicago (1998). “What is authenticity?” “Travel vs. memory vs. object” “Residue from travel” SUSAN GILES: 1997-1998 Fulbright Grant to Indonesia, sponsored by the Museum Nasional in Jakarta and Sekolah Tinggi Seni Indonesia in Denpasar, U.S. Student Program, New York The works of Jeff Carter and Susan Giles explore the troubled vantage point of the contemporary tourist. Having traveled extensively in India, Sri Lanka, China and Indonesia since 1995, both artists bring this experience to bear in a body of witty, yet complex, sculptural and video works that make their own dislocated position as travelers central to their representations. Security 2007
carved mask, paint, plywood, aluminum, motor, custom
19" x 11" x 7” Jeff Carter Corrected Postcard 2003 Postcard, aluminum, hardware 7.5” H x 4.5” W x 3” D The Sydney Opera House and The Taj Mahal 2008
paper and glue Susan Giles Viewfinder 1999
Chipboard
Each platform 20" W x 30" L x 2" H. Installation dimensions variable Jeff Carter and Susan Giles Wayang Kulit Turis (Tourist Puppets) 1999
Leather, paint
Each approximately 20” H x 16” W The Sydney Opera House and The Taj Mahal 2008

Tourist Souvenir: Brainstorm Activity Please brainstorm the following with your tablemates on the provided paper. Begin by folding the paper into fourths. List as many nearby cities as possible. Now, list local tourist sites unique to Sacramento. Then, list materials/resources that are unique and/or common to (Duncum, 2003) Northern California. Finally, list materials/resources that are uncommon to (Duncum, 2003) Northern California.

Tourist Souvenir The students . . . will sculpt a souvenir inspired by a tourist destination within the Sacramento area. will exhibit creative or personalized thinking and processing. will explore contextual influences, including personal, social, cultural, and/or historical. will apply new knowledge from recent readings.

Middle school

From left to right: Kashia Moua: SacAnime Convention’s mascot Amanda Vasquez: El Paso, TX Kyle Anstess: hometown of Lodi (top) Kim Temme: San Francisco (bottom)

Tourist Souvenir: Planning The students will . . . complete the TOURIST SOUVENIR: PLAN WORKSHEET. create a side view and top view drawing of the Tourist Souvenir. Draw first with PENCIL and then add color with COLORED PENCIL. Add length, height, and depth in inches. begin GATHERING SUPPLIES.

Guiding Questions: Tourist Souvenirs Did I recognize my OWN INTERESTS or PERSONALITY when SELECTING MATERIALS FOR or CONSTRUCTING THE Tourist Souvenir? If so, how? In what ways do the SELECTED MATERIALS COMPLEMENT my souvenir? After viewing peer artwork, which souvenirs are particularly MEANINGFUL to me and why? Are any of the SOUVENIRS IRONIC? If so, how?