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 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 authorizing Chicano art as its own distinctive school of
(US) American art. 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 Movement; a sociopolitical
initiative that began in the 1960s to promote social
progress and change for Mexican-Americans. 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 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 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 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 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 unequal,
gender relations in Chicano culture. Through works such as
these, Hernandez continues to provide a voice for Chicano
11 women. Highlighting the unique challenges that they
face in America everyday.
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 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 authorizing Chicano art as its own distinctive school of
(US) American art. 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 Movement; a sociopolitical
initiative that began in the 1960s to promote social
progress and change for Mexican-Americans. 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 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 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 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 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 unequal,
gender relations in Chicano culture. Through works such as
these, Hernandez continues to provide a voice for Chicano
11 women. Highlighting the unique challenges that they
face in America everyday.