Ruben Trejo: Cruciforms

RUBEN TREJO: CRUCIFORMS JANUARY 21 - APRIL 2, 2005 JUNDT ART MUSEUM· GONZAGA UNIVERSITY • SPOKANE • WASHINGTON

Moreover, Trejo frequently explores and plays with the

CRUCIFORMS

meanings and values that a culture will assign to dif-

One of the most respected, beloved, and prolific artists

ferent symbols or icons.

in Washington, Ruben Trejo has remarkably humble and

this lifelong artistic project that Professor Trejo has em-

unique origins.

barked upon.

His parents, Tarascan Indians from the

The cross series is a part of

Michoacan area of Mexico,.migrated north to Minnesota

His crosses are a fascinating and powerful meditation

around 1910 in search of work. The move to Minnesota

on this single, simple form, which is one of the most

was initially considercd temporary, but the family stayed.

fam iIiar and ideologically

loaded symbols from the past

And Ruben Trejo was born and raised in a

millennia to the present.

CB & Q Boxcar in the Burlington Railroad

Latin cross format has become synony-

Yards in St. Paul. His father worked for the

mous with Christ's Crucifixion,

railroad, while the rest of the family-Tre-

cross form-two

jo, his mother, and five siblings-spent

angles-in

ten

Although the

the basic

lines crossing at right

fact predates Christianity. The

hours a day as migrant farm laborers. As

earliest cruciform, the "gamma" cross, is

a Mexican-American

better known today by its Sanskrit name,

Catholic

living

in

a boxcar and growing up in mid-twenti-

swastika.'

eth century Minnesota, Trejo experienced

controversial

early on in his life a kind of cultural oscil-

Western societies, the swastika frequent-

lation that involved movement within and

ly appeared on artifacts and objects from

between two different worlds, two different

ancient Mediterranean civi Iizations, most

cultures.

likely as a symbol of benediction or good

His interest in art surfaced as a

Even though an extremely symbol

in contemporary

young grade school boy. Years later, as an

luck.

art student at the University of Minnesota,

of holiness also for Brahmins and Bud-

Trejo started to blend his keen awareness

dhists alike. And according to prehistoric

of cultural differences into his art. Indeed,

archaeologists the earl iest forms of the

his work consistently reflects a particularly

astute sen-

The swastika functions as a sign

cross appear to have had rei igiously symbol ic meaning

sitivity to the distinguishing features of North American

long before the advent of organized religion.

and Latino cultures and the similarities between the two.

For Christians the Latin cross resonates as a sign of

Christ's Crucifixion.

It has permeated Western visual

infinite visual variety and balance with an extremely

culture from the Middle Ages, when Europe experienced

simple, pure shape. He often incorporates other forms

the beginnings of an extraordinary wave of Christian im-

into his crosses, in particular welded nails, and repeat-

agery, particularly within church buildings.'

That wave

edly transforms a common symbol into a work of art that

subsided somewhat by the seventeenth century; how-

compels the viewer to pause and reflect on some of the

ever, the cross emerges constantly and consistently in

most fundamental issues of design.

our everyday, contemporary, and largely secular world.

Trejo's Cross #45, for instance, creates an astonishing

We can, of course, sti II experience images of the cross

balance of contrasts.

in the architecture of cruciform churches. The sign of

standard, rigid horizontal line intersecting with a verti-

the cross and the cross on a rosary can also provide a

cal line, but near the tips of the cross are excessively

direct, personal experience of it. In the home a repre-

bent nails that look like twisted dough. With this simple

At the core of the cross is the

sentation of a cross serves as an expres-

maneuver Trejo diminishes the sense of

sion and reminder of a family's religious

danger and violence that a nail on a cross

beliefs. Yet, for many, the experience of

could imply and imbues the work with

the cross takes place within museums-

a bit of humor and whimsy. Moreover,

the "sacred" space of art. For some, the

he creates a visual and conceptual ten-

cross as jewelry or as a tattoo is a public

sion between straight/curved, soft/hard,

expression of one's faith, but, for many

and peril/whimsy. Trejo's Cross #19 also

others who wear it on the body, it may

experiments with a similar set of formal

be strictly a fashion accessory. Or on

issues. With Cross # 19 he creates a cross

the side of a road or highway a cross

in outline form whose interior is mostly

may mark the spot where a loved one

negative space partially filled with twist-

was killed in an automobile accident.

ing nails arranged on a variety of angles

It has also been co-opted as a symbol

and X forms arbitrarily

of racial and religious hatred and big-

contour lines of the cross slightly bend,

otry, in the perverse practice of cross

giving the cross a degree of liveliness in-

burnings. And finally, within the genre

stead of rigid stillness. This time it is not

of horror films, the cross frequently ap-

just straight/curved,

pears as a swift and reliable weapon

rigid/malleable that Trejo addresses.

against bloodthirsty vampires. Thus, for

The cross series, however, cannot be

Christians and non-Christians alike, the

reduced strictly to the category of for-

cross is inevitably fraught with cultural,

mal experimentation.

social, and political meanings.

grates into his crosses a psychological

During the 1970s Trejo started to ex-

or emotional presence that is achieved

plore

through the simplest means.

welded

and

investigate,

metals,

the

primarily

most

in

common

dispersed. The

soft/hard but also

Trejo often inte-

Consider

Cross #75, a cross with arms that deeply

emblem of Christianity as a sculptural

curve inward. This gesture of embrace is

form. His interest in the cross is largely

loving and comforting in tone, perhaps

rooted in the artistic challenge that it

a reminder for the Christian viewer of

offers, namely the challenge to create

Christ's love and acceptance.

Yet with

Cross # 74 we see at the top of the cross a prickly clus-

cu Itural.

ter of naiIs that extend out, as the other three arms

jalapeno peppers, which extend across and down the

exhibit the severely pointy claw-like tips from three

length of the cross.

different blades-no

that may seem an example of m ixi ng metaphors or

welcoming,

comforting gesture

Cross # 70 aIso features representations of

It is a significant juxtaposition

of embrace at all, but one of threat and possible physi-

cultural clash-an

cal torment.

tuality combined with the plump, hot peppers native

Indeed, the physical is directly repre-

abstract symbol of Christian spiri-

sented inCross # 77, one of the few crosses by Trejo

to Mexico.

But in fact the peppers and the cross to-

that features the body, or rather parts of the body. Two

gether invoke the culture of Mexico that shaped Trejo,

eye-like forms appear to gaze out at

even as a child growing up in Min-

the viewer, while an outstretched hand

nesota. On the one hand, his crosses

tangled in wire reaches up from the

invite us to reflect upon and recon-

top of the cross, perhaps expressi ng

sider how we view and understand

physical agony, fragi Iity, and resigna-

a basic, familiar form.

tion. Yet the hand looks relaxed. We

like Cross #70, which mixes seem-

do not need to see the entire body in

ingly incongruent icons, prompts us

order to understand corporeal vulner-

to acknowledge and reflect upon the

ability.

cultural hybridity that all modern hu-

In this case, the hand func-

But a work

tions as visual synecdoche, expressing

man bei ngs in the early twenty-first

the whole body or person.

century experience.

But Trejo

cleverly counterbalances the possible

With

solemnity of the wire-tangled hand by

crossing at right angles-Trejo

incorporating

ates work

representations

of ja-

this simple

form-two

of astonishing

lines cre-

richness

lapeno peppers along the shaft of the

and complexity.

cross, a witty juxtaposition that evokes

of Eastern Washington University, he

both humor and pain.

is internationally

Professor emeritus

recognized for his

With Cross # 77 and other crosses like Cross # 70, Trejo

work and has had more than twenty-five solo exh i-

manages to insert another dimension into the psycho-

bitions.

logical and formal life of his crosses, and that is the

throughout the United States, including the Smithson-

His work is featured in museum collections

ian Institute's

ational Gallery of American Art. This exhibition at the Jundt Art Museum includes several crosses

recently made by Trejo and is the first show since 1987 devoted exclusively to his ongoing cross series.

Shalon Parker, PhD. Assistant Professor of Art History, Gonzaga University, Spokane, WA

1

Information regarding the history and religious significance of the cross and swastika is from New Catholic En-

cyclopedia.

2

(Detroit: Gale/Thomson, 2004),

S.II.

"Cross," 4: 378-83, and s.v. "Swastika," 13: 633.

The earliest surviving image of Christ's Crucifixion dates to c. 420. It is a small ivory relief carving now located

in London at the British Museum. The relief panel shows Christ on the cross alive and alert, while the dead figure of Judas hanging from a tree is to the right of Christ. See New Catholic Encyclopedia, 4: 488, fig. 1, for a reproduction of this relief. It is believed that prior to the fifth century the Crucifixion was not represented in Christian art. Christ was generally shown as the Good Shepherd, the Teacher of the Apostles, or the Pantocrator. Scholars of early Christian art have suggested that this absence of images showing Christ on the cross was due

10

the shame

and indignity associated with crucifixion, a form of capital punishment generally meted out to criminals and slaves during the Roman Empire. Only later was the image of Christ on the Cross regarded as an inspiring and moving emblem of the faith and His sacrifice.

IMAGES Cover: Cross 1147, 2001 (detail).

Welded steel & cast bronze with patina, 39" x 22" x 4".

left panel: (top, left to right) Cross 1145, 2000. Welded steel with nails, 14"x 91f2"x 3".

Cross #47, 2000. Welded steel with nails, 17" x 14" x 3".

Cross 114,2000.

Welded steel with nails, 9"x 11'h"x

2".

(bottom) Cross 1143, 1999. Welded steel with nails, 21" x 8" x 2".

Center panel: Cross 1177, 1999.

Wire & cast bronze with patina, 5'14"x 22'14"x 2".

Right panel: (top, left to right) Cross 1174, 2001. Welded steel, 12"x 6"x 4".

Cross 1158, 2001. Welded steel with nails, 15"x 11"x 4".

Cross 1175, 2001. Welded steel, 11" x 91f2"x 4". (bottom) Cross 1164,2001.

Welded steel with paint, 29"x 131f2"x 1".

Right fold: Cross 1179, 2001. Welded wire & nails w/paint, 34"x48"x5".

Back cover: Cross 1147, 2001.

Welded steel & cast bronze with patina, 39"x 22"x 4".

Photo credit:

Barry Coon/Commercial

Photographers

This publication was funded by the Jundt Art Museum's Annual Campaign 2004-2005. Š Jundt Art Museum, Gonzaga University, Spokane, WA 99258-0001

RUBEN TREJO Born January 7, 1937, St. Paul, MN; resides in Spokane, WA. EDUCATION Lniversity of Minnesota, University of Minnesota,

1969, M.F.A. 1964, B.A., 1960, A.A.

TEACHING APPOINTMENTS 1973-2003 Eastern Washington University, Cheney, WA. (Professor Emeritus) 1968-1973 SI. Teresa College, Winona. MN. SELECTED SOLO EXHIBITIONS 2004 Jundt An Museum, Gonzaga Univer ity, Spokane. WA. 2003 Tinman Artworks, Spokane, WA. Kress Gallery, Spokane, WA. North Idaho College, Coeur d' Alene,lD. 2000 Chase Gallery, Spokane, WA. 1999 Reencounters, Expressions oj Latino Identity, 1992-1997 Exhibit Touring Services, EWU, Cheney, WA. Creative Arts Center, Pontiac, MT. Bridge Center for Contemporary Art, EI Paso, TX. Center for the Visual Arts, Metropolitan State College, Denver, CO. Portsmouth Museums, VA Esvelt Gallery, Columbia Ba in College, Pasco, WA. Adam East Museum & Art Center, Moses Lake, WA. Copper Village Museum & Arts Center, Anaconda, MT. Hockaday Center for the Arts, Kalispell. MT. Cultural Events, WSU-Jri Cities, Richland, WA. Lawton Gallery, University of Wisconsin Green Bay. WI. Gallery/Museum. Western Montana College, Dillon, MT. pringfield Museum of An. OH. Steensland An Museum, orthfield, M. Washington State Convention & Trade Center, Seattle, WA. Intar Gallery, I ew York, Y. 1990 SELECTED GROUP EXHIBITIONS 2004 Anistas de la Raza Cosmica, Larson Gallery, Yakima. WA Guahatemo, La Corona Gallery, Chicago, IL. 2000-2003 /vrte Latino, Smithsonian American An Museum, Washington D.C. 2000 Arte Latino, EI Paso, TX. 1997 An Beyond Borders, Winnipeg Art Gallery, Manitoba, Canada.

SELECTED TRAVELING EXHIBITIONS 1993-1995 Arte de Ol/V Mexico/An of the Other Mexico Mexican Fine Arts Cenrer Museum, Chicago, TL. Museo De Artc Moderno, Mexico. D.F. Mu eo Regional De Oaxaca, Mexico.

Centro Cultural Tijuana, Mexico.

Palm Springs Desert Museum, CA. Mu e Del Barrio, New York City, NY. Center for the Arts, San Franci co, CA. 1990-1993 Cora Chicano Art: Resistance and Affirmation Wight Art Gallery, UCLA, Los Angeles. CA. Denver Art Museum, CO. Albuquerque Museum, 1 M. San Francisco Museum of Modern Art, CA. Fresno Art Museum, CA. Tucson Museum of Art, AZ. Smithsonian American Art Museum, Washington D.C. EI Paso Museum of Art, TX. Bronx Museum of the Arts, New York, NY. San Antonio Museum of Art, TX.

SELECTED PUBLIC COLLECTIONS City of Seattle Portable Works, Commission Purchase Award, WA. College of St. Teresa, Winona, MN. Dongguk niversity, Seoul, Korea.

Eastern Washington niversity, Cheney. WA. Georgia Southern College, Statesboro, GA. Jundt Art Museum, Gonzaga niversity. Spokane, WA. Limerick niversity, Ireland.

Iational Hispanic Cultural Center, Albuquerque, M. orthwest Museum of Arts & Culture, Spokane. WA. Smithsonian American Art Museum, Washington D.C. Spokane City Hall, WA. St. Martin's Abbey, Lacey, WA. Stanford University, Palo Alto, CA. SELECTED HONORS & AWARDS 2003 FEDECMI Graphic Arts Workshop, BAJa UN MISMO CIELO, Patzcuaro, Michoacan, Mexico.

2001 Spokane Arts Commission, Artist Award, WA. 1992 Northwest Regional Foundation Grant.

1991 Prernio de la Raza, CEP, EWU, Cheney. WA Trustee Medal, EWU, Cheney, WA. 1986 1976 28th Spokane Annual Competition: Individual Award Winner, WA. SELECTED BIBLIOGRAPHY Art of the Other Mexico. Catalogue. Chicago: Mexican Fine Arts Center Museum, 1993.

Breaking Borders. Catalogue. Winnipeg: St. Norbert Art and Cultural Center.

1997.

Contemporary Chicana and Chicano Art, Artists, Works, Culture, and Education. vols. I & ll. Tempe: Bilingual Press. 2002.

Day of the Dead. Catalogue. Belmont. CA: College of Notre Dame, 1995.

Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora.

Catalogue. University of ew Mexico Press.

Lostc, Barbara. The Day of the Dead: Reflections/Installations.

Catalogue. pokane, WA: Jundt Art Museum, 2001.

Recuentros: Washington State & Chile, Partner of Americas. 1992.

Santana, Jose Luis de la Nuez. Arte y minorias en los Estados Unidos: el ejemplo chicano. Cordoba, Spain, 200 I. "Spiritual Soundbites and the An of Ruben Trejo," Third Text: Third World Perspectives 011 Contemporary Art and Culture. London, UK. 1995.