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.