Chicanitas: Small Paintings from the Cheech Marin Collection


Romero, Frank-City at Night (8x8)
City at Night, 2010
Acrylic and oil on canvas, 8 x 8 inches
Collection of Cheech Marin

Many of us know Cheech Marin as part of the colorful Hollywood duo “Cheech and Chong”. Others followed his career as he branched out into writing and directing. But over the last 20 years, Marin has also been gathering a pretty sizable collection of Chicano art. He has been championing the Chicano art movement of the 60s and 70s, as well as promoting up-and-coming artists.

The Amarillo Museum of Art will be honoring The Chicano Collection of Cheech Marin as part of our Achievement in Art Exhibition. You can see some of these works on the first and second floor of our museum from January 31st – March 27th.

Chicanitas: Small Paintings from the Cheech Marin Collection showcases 70 paintings from this noted art collection averaging 16 inches square, and smaller, in size. In contrast to the large works in the collection, the content of the small paintings leans more towards the artists’ internal or personal statement rather than as a response to political, or social situations. With styles ranging from photo-realism to abstraction… portraits to landscapes, we see a glimpse of the artists’ lives. In these paintings, we find that each artist is sincere in his or her life experiences, personal interests, culture, and heritage. And that they entice us with a little bit of mystery.. a little bit of humor… and true individuality.

This will be a particularly significant exhibition to share with students on school tours – we hope to expose them to diverse cultures, while helping them consider their own identities, and how they relate to the world around them.

Lozano, Jose-Wrestlers, Centauro

Centauro, 1997
Mixed media on paper, 10 x 8 inches
Collection of Cheech Marin

Marin explains that he discovered his love of small paintings when he first saw the works of Dutch painter Johannes Vermeer in person. Although he had studied the paintings in books, he describes that seeing them up close he could sense the way Vermeer captured intimate scenes, as if he were eavesdropping. After this encounter with Vermeer’s work, Cheech Marin sought out small paintings wherever he went.

Johannes Vermeer. The Milkmaid, 1657-1658. Oil on canvas, 16×18 inches.
Garcia, Margaret-Urban Field of Green
Margaret Garcia, Urban Field of Green, 2009. Oil on canvas, 12×12 inches. Collection of Cheech Marin.






In the article below, Marin explains how his love of Chicano art developed, the underlying ideas of the movement, and the way it fits into the art world today.

CHICANO SCHOOL OF PAINTING-01  “The first time I stood in front of a Chicano painting – it was George Yepe’s Amor amatizado – I had the same feeling as when I first heard a tune by the Beatles. It was a sense of experiencing something very familiar and very new. The Beatles had built their music on the backs of their rock ‘n roll heroes, but their interpretation was fresh and distinctive. As the Beatles started writing their own songs, their own roots were clearly evident, and yet they were moving beyond the influences around them to create a whole new musical landscape. The same can be said about my appreciation of Chicano painters: The more art I looked at and thought about, the more that initial feeling of something new and “known” was reinforced, and with it a recognition of something powerful at work.

Having been self-educated in art from an early age (I was probably in the fifth or sixth grade), I recognized the various models from which the Chicano artists drew inspiration: Impressionism, Expressionism, the Mexican Mural Movement, Photorealism, Retablo painting are all examples. But the common link of course was the central “influence” common to all the artists – they were Chicanos and looked at the world through Chicano eyes. Over time, this so-called common link begat something broader and more important. A much larger picture was emerging, and that picture was a new school of art in formation.

If a school can be defined as a place where people can come to learn, exchange ideas, have multiple views and different approaches to the same subject, and influence each other as they agree and disagree, then a Chicano School of Painting more than qualifies for such a definition. What distinguishes this body of work is of course not simply that it has no interest in rehashing the familiar landmarks of Impressionism, say, or abstraction or pattern & decoration. Nor is this art whose mandate is a reaction against other stylistic precedents in the history of art. Rather, it is a visual interpretation of a shared culture that unfolds in one distinctive painting after another.

The art movement developed outside of the national or international spotlight, and in separate locations, notably Los Angeles and San Antonio. In its earliest days, three decades ago, this was a movement that developed organically, with little communication among the artists. What bound them together was the DNA of common shared experience. Yes, there were a few very important groups (Con Safo, Royal Chicano Air Force, Los Four, and Asco), but in general many of the artists shown in these pages never even met before their work was collected in the exhibition “Chicano Visions: American Painters on the Verge”. With little commercial encouragement, these artists have struggled to gain acceptance in the gallery world. Many painters show their works in restaurants, coffee houses, or wherever there is a wall and an audience. What matters is that they continue to create.

Overwhelmingly university or art-school trained, these artists were exposed to art history and major contemporary world art trends in addition to the constant and surrounding influence of Mexican art and culture. Indeed, it is this blending of influences – traditional Mexican and American Pop – that defines the school. Simultaneously naive and sophisticated, the art mirrors the artists’ own experience of a bicultural environment. Chicanos “code switch” amongst themselves all the time: they go back and forth almost at random between languages and cultures both spoken and visual. Code switching allows for total immersion, the creation of a whole greater than the sum of its parts.

Going into its fourth generation of artists, the school continues to grow without losing its essential characteristic – the visual interpretation of the Chicano experience. Whatever the means – historical, political, spiritual, emotional, humorous – these painters each find a unique way to express their singular point of view. And just as Chicanos have been influenced by their predecessors, so now they exert an influence on American pop culture. From hip-hop dress to the predominance of salsa as the number one condiment – over ketchup! – the Latin experience is not just recognized as something “interesting”, a “colorful sidelight”, but as one of the main threads that makes up America’s cultural fabric.

In the end, however, it is the lone art lover standing in front of a great painting with his jaw dropped, transported to a place both timeless and immediate, that provides the ultimate validation for this new movement in art. For more than twenty years, Chicano painters have done that for me. I pass along this world with love and affection, y con amor, carino y besos. 

-Cheech Marin
San Francisco, 2002


yellow border line-01

In addition to the exhibition, Cheech Marin will be joining us in Amarillo on Tuesday, February 9th at the Globe News Center to speak about his passion for collecting art. Click here to purchase tickets. We’re excited to be hosting someone with celebrity status, who brings with him an awareness to the importance of Chicano art.

We hope that you find this exhibition as compelling as we do.


[The Amarillo Museum of Art]






Running the Numbers: For Kids


20151027_125446 (1)

Students and teachers alike are captivated by the large-scale photographic collages of Seattle based artist, Chris Jordan. Currently on exhibition at the AMoA, Running the Numbers features multi-faceted artworks that are all at once shocking, and beautiful.

Upon arrival at the museum, tour groups are introduced to the idea that these photographs beckon to be looked at both far away and up close… and participants are invited to do just that. Our docents and staff use VTS strategies to discuss the artworks as a whole – asking students what they see when standing several feet back. Since there are no “right” or “wrong” answers, students are eager to share their findings and discuss multiple points of view. As young observers step closer to the artworks, exclamations are heard!

students upclose

It becomes apparent that these images are actually made up of lots and lots of tiny pictures – parts of a whole. And these pictures pack a pretty important message: America has become quite the consumer society.

Take a look at Cans Seurat below…

cans seurat 2007

And here is a detail at actual size.

cans up close

This take on the famous Georges Seurat painting, A Sunday on La Grande Jatte, depicts 106,000 aluminum cans – equal to the number used and discarded in the US every 30 seconds… that’s right, THIRTY SECONDS!! But imagine trying to explain this gigantic number to children without the aid of a picture. Large numbers are virtually impossible to understand even as adults. Chris Jordan explains that to show these raw and emotionless statistics, he felt they needed to be presented visually. There is nowhere we can go to actually see these Mt. Everest sized piles of trash,  and so it almost feels like the effects of all this waste are invisible. Yet here we begin to make a connection, thus realizing the true impact of the items we discard.

Students learn about recycling and the environment from a very early age. Some children touring the museum even talk about the ways their parents and schools implement recycling in their daily lives – such as taking reusable grocery bags to the store, or discarding plastic products in recycling bins in school cafeterias. This exhibition helps bring understanding and validation to those practices. Chris Jordan reminds us that, “there isn’t one bad person out there who is doing a huge amount of terrible consuming. This is happening because of the tiny incremental harm that every single one of us is doing as an individual.” So to address this issue with students in a non-accusatory way, we make it clear that the artist is not pointing fingers. He does not mean to tell us that we shouldn’t ever drink from aluminum cans, or drive big gas guzzling vehicles. Instead, each one of us is asked to simply think on it. We are prompted to think about the decisions we make, and how they apply to the bigger picture.

If schools book an Enhanced Tour with AMoA, students participate in a hands-on art activity in our education lab that is related to the exhibition. The project that accompanies this body of work is particularly cool because it engages students on many levels. To address Chris Jordan’s use of mandalas in his work, they each get to create a mandala painting using their fingers. The connection is made that while Jordan’s large images are actually created with tiny parts, the students create a whole work using small dots or marks made by the tips of their fingers in the same type of circular design they see in the galleries.

oil barrels

Oil Barrels is one example of a mandala seen on the tours. Click on the photograph to be taken to Chris Jordan’s website. Below are some examples of young students’ mandala paintings.


This activity also reinforces color-mixing techniques. Students are encouraged to make secondary and tertiary colors using only the primary colors of paint. They learn that yellow is a weak color, and must be mixed in larger quantities than blue or red.

Through facilitated discussion, and a related art project, we are seeing students who are extremely eager to learn about art! As art educators, it is exciting to see so many young visitors making their own connections from the artworks they see on the walls of our museum to real-life situations. We believe that tours foster an ideal environment for critical and creative thinking. And what better way to do this, than by looking together at the fascinating and meaningful works of Chris Jordan!