Aztlán: A Journal of Chicano Studies
Aztlán presents original research that is relevant to or informed by the Chicano experience. An interdisciplinary, double-blind peer-reviewed journal, Aztlán focuses on scholarly essays in the humanities, social sciences, and arts, supplemented by thematic pieces in the dossier section, an artist's communiqué, a review section, and a commentary by the editor, Charlene Villaseñor Black. Aztlán seeks ways to bring Chicano studies into critical dialogue with Latino, ethnic, American, and global studies.
Aztlán has been the leading journal in the field of Chicanx studies since 1970. Aztlán is issued twice a year.
"Aztlán … signals the vibrancy of Chicano Studies."
— The Chronicle of Higher Education
"The preeminent scholarly journal in Chicano Studies."
— Magazines for Libraries
"This esteemed journal of record is essential for virtually all academic libraries."
— Library Journal
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Volume 48, Number 1
The spring issue of Aztlán opens with Charlene Villaseñor Black’s commentary on Chicano photographer Luis C. Garza. The first two essays explore representation in visual media. Carlos Jimenez and Alfredo Huante analyze Latinx-led urban revitalization in working-class barrios—“gente-fication”—as presented in the television shows Vida and Gentefied, and Kevin Anzzolin looks at graphic representations of the migrant body in the films Crossing Arizona, Which Way Home, and Who Is Dayani Cristal? The second two essays investigate legal issues and their impacts. Kelly Washbourne examines the function of the book ban instituted in Tucson after passage of HB 2281, and Juvenal Caporale assesses the impact of civil gang injunctions in Southern California.
The Dossier section, “Globalizations: Decentering, Expanding, and Reconceptualizing Latina/o/x and Chicana/o/x Studies,” was curated by Cecilia M. Rivas, Michael A. Parra, and B. V. Olguín. It is the first part of a two-part Dossier that assesses the global nature of Latinidades. The Artist’s Communique presents the abstract paintings of Los Angeles–based artist Linda Arreola.
Cover image: Linda Arreola, Uvalde Children, 2022. Acrylic on canvas, 48 x 48 inches, composed of two panels, 48 x 24 inches each. Photography by Art Works Fine Art Publishing, Los Angeles.
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EDITORIAL BOARD 2021–2023
Geraldo L. Cadava, Northwestern University
Bianet Castellanos, University of Minnesota
Natalia Deeb-Sossa, University of California, Davis
Juan de Lara, University of Southern California
Cecilia Fajardo-Hill, Independent Scholar and Curator
Rachel V. González-Martín, University of Texas at Austin
Irvin Ibarguen, New York University
Felicia Rhapsody Lopez, University of California, Merced
Alejandro L. Madrid, Cornell University
Lorena Muñoz, Mills College
B. V. Olguín, University of California, Santa Barbara
Tatiana Reinoza, Notre Dame University
Robert Chao Romero, University of California, Los Angeles
Michelle Téllez, University of Arizona
Anita Tijerina Revilla, California State University, Los Angeles