Graciela Iturbide’s Cholos/as Series: Images of Cross-Border Identities

Abstract

This article looks at Mexican photographer Graciela Iturbide’s Cholos/as series taken on both sides of the border: in Los Angeles in 1986 and in Tijuana in 1989. The cholos/as, or gang members, have a complex relationship to Mexico; this response grows in part from the constructed nature of the border in general – a symbolic and relatively recent division between nations that does not represent lived reality or divisions between identities and cultures. As an outsider, Iturbide inserts visual cues throughout the series that tie the cholos/as’ lifestyle to its Mexican roots and historical legacies, thus recuperating the mexicanidad, or Mexican identity, that exists in the borderlands. The narrative thrust of this series is strong, foregrounding female agency and matrilineal family structures over traditional, heteropatriarchal conceptions of family; complex negotiations of personal identity; and generally emphasising the social ties of border communities and subcultural groups through a distinct aesthetic style that intervenes in traditional photographic genres like studio portraiture. Iturbide’s images form an origin story for the topicality of the US–Mexico border at the present moment and demonstrate that the issues of the border have been a critical point of inquiry for artists since the 1980s.