Alma López

Our Lady is a photo-based digital print that depicts Raquel Salinas, a performance artist, confidently staring back at the viewer, wearing a bikini of roses. In the image, below the mandala of the virgen there is a nude butterfly angel that depicts Raquel Gutierrez. [13] The roses allude to the Virgin of Guadalupe's origin myth, though her posture and eye contact defies the traditional version of the Virgin. Her cloak is covered in images of Coyolxauhqui, the Aztec moon goddess. The juxtaposition of Catholicism iconography and indigenous goddess reference the suppression of indigenous female goddess by Catholicism and Our Lady is contemporary Chicanas re-appropriating both.[6]

Lopez views her work as empowering to women and indigenous Mexicans. To Lopez, La Virgen de Guadalope is more than a religious symbol. She is a public figure and a symbol of her culture, community and family. La Virgen also served as symbols in art work for the Chicano Movement and the Women’s Liberation Movement in Mexico which Lopez cites as further support that La Virgen is not only a religious symbol.[8]

The women photographed for the piece was motivated to model for it to reclaim her body and heal after being raped. She practices an indigenous spirituality that considers La Virgen de Guadalope to be Tonantzin, or mother earth.[7]

In 2001 Our Lady was included in an exhibit called Cyber Arte: Tradition Meets Technology at the Museum of International Folk Art in Santa Fe, New Mexico. Controversy ensued. The New Mexico Archbishop Michael J. Sheehan referred to Lopez’s Virgin as a “tart or streetwoman.” [6][7][8] However, the overt female homoeroticism remained largely absent from the controversy.[13]

In response to this protest Lopez said that Our Lady is not about sex or sexuality, but instead about showing strong women and the real lives of Chicanas.[7] The curator of the exhibit and Lopez received verbal and physical threats. Some of the responses to the work were homophobic, stating that the image of La Virgen did not belong to a queer feminist like Lopez. Lopez collected and posted the content of many of the threatening and supporting emails at her website.[6] The controversy essentially became a part of the art piece itself.

Following the controversy and the protest at many showings of Our Lady, Lopez wrote a book entitled Our Lady of Controversy: Irreverent Apparition.[14]

Heaven 2 was a mural displayed outside Galería de la Raza from November 2000 to January 2001.[15] It portrays a woman on her deathbed thinking of herself and her lover holding hands on the moon.[15] It was defaced with Bible verses and the gallery staff received homophobic threats and a gunshot through their window.[15]

This mural was painted by Yrenia Cervántez and Alma López on the Huntington Beach Art Center in 1995 as part of the Center's inaugural exhibition. The mural used elements of waters and waves and showed the history of people of color in the area. The contract for the mural was only through 2000, and in 2008 the new owners of the building decided to paint over it. Various Chicanx art scholars and community leaders attempted to save the mural, likening the destruction as the "equivalent to painting over the work of Diego Rivera," but the mural was ultimately lost.[16]

This piece is part of a 2003 series using similar titles and the same model. It depicts a close up of a young woman staring straight at the viewer and crying, alluding to La Llorona. Behind her is the silhouette of La Virgen with arms raised and her back to the young woman.[7] People have suggested that La Virgen has turned her back on the young woman or is pleading for a female goddess or mourning a violated young women—alluding to La Llorona.[7] Tattooed on the young woman's shoulder is the severed head of Coyolxauhqui and Coatlicue's fangs are stenciled over the young woman's face.[7]

The title of this piece refers to Ester Hernandez's 1976 sketch of a karate Lady of Guadalupe entitled La Virgen de Guadalupe Defending the Rights of the Xicanos.[7] Lopez's choice to use Las Chicanas instead of Hernandez's Los Xicanos conveys her focus on Mexican women. The subject of the painting is a middle-age, pregnant, indigenous women holding up one hand and a sword in her other hand.[7] A halo on her head represents both La Virgen and Coyolxauhqui. Her hand held up suggests she is trying to stop an injustice. The sword pointing downward suggests she prefers peaceful discussion over violence, but like Coyolxauhqui and La Llorona, she will use violence to protect women.[7]

La Briosa y la Medusa was inspired by Lucha Libre, which Lopez had grown up watching. This piece focuses on female luchadores, specifically La Medusa and La Briosa, who Lopez had found in her research on luchadoras.[11] Lopez saw the story of Alicia Alvarado, La Medusa, who herself had been inspired by a tag team match of luchadoras to become a wrestler herself. Lopez saw these women in a male dominated sport like lucha libre and wanted to display the lesser known presence of women. Something which she herself believed that young people should see and that is the inclusion of women throughout male dominated history and events.

In 2014 she and her students from her "Queer Art In LA" class at UCLA painted a mural in the LGBTQ studies offices. The mural shows the queer community and their allies protesting the police raids of the Black Cat Tavern.[17]