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| Perry Vasquez’s Keep
on Crossin’ installation is a passionate call for crossing
borders of all kinds in order to expand the limitations imposed.
Complete with a manifesto proclaiming the need to “cross borders
of political, social, linguistic, cultural, economic, and technological
construction,” Vasquez’s Keep
on Crossin’ project presents a critical, yet humorous look
at the cultural and economic coexistence of the United States
and Mexico (1). Vasquez’s central figure is a caricature of a
Mexican man in traditional garb—complete with sombrero and huaraches—gamely
striding over the U.S.–Mexico border. Originally designed as
a proposal for the 2002 California State Quarter Competition,
Vasquez’s figure (named R. Carumba) is intended as a mascot for
the waves of immigrants who have crossed into the state in pursuit
of a common dream, and who have contributed significantly to
the history of the region.
Also in Vasquez’s installation is a plaster of paris figurine created in Tijuana by the same ceramics manufacturer that produces the monitos, or the mass-produced sculptures of popular culture icons sold along the Mexican border crossing. Vasquez’s piece points to the constant cultural and economic border crossings that change and impact both countries.  (For Grades 4-6) What statement is the artist trying to make? Is this installation meant to be serious or humorous? Why? Based upon the title of the installation, how do you think the artist feels about the relationship between Mexico and the United States? In the title Keep on Crossin’, do you think Vasquez is talking only about the border between Mexico and the United States, or do you think he means all borders in the world? Why? (1) Perry Vasquez and Victor Payan, Keep on Crossin’ Manifesto, January 18, 2003, http://www.keeponcrossin.com. |
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Perry Vasquez United States, born 1959 Keep on Crossin’ Mixed media, 2003-2005 2006.6.1-30 © Museum of Contemporary Art San Diego |
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