In examining the legacy of the influential art group ASCO, filmmaker Travis Gutiérrez Senger notes that their work extended beyond art to stir a significant movement in Chicano art history. “That movement still thrives today,” he observes, acknowledging that numerous books and films will one day tell ASCO’s story over time. His collaboration is his documentary, “ASCO: Without Permission,” which captures this group’s impact.
The documentary chronicles the pioneering art collective established in the 1970s by multifaceted creator Patssi Valdez, muralist Willie Herrón III, painter and performer Gronk, and writer-photographer Harry Gamboa Jr. Coming together in their youth, they named their group “asco,” meaning “nausea” or “disgust” in Spanish, following one of their initial DIY exhibits. Their experimental performances and conceptual pieces shed light on Chicanos’ marginalization from mainstream art and illuminated the systemic police violence endured by the Mexican American community in East Los Angeles.
ASCO’s founders subsequently became renowned figures in the Chicano art scene, with later exhibitions of their art in major museums. Initially, however, they faced barriers entering prestigious galleries and museums, prompting them to create alternative spaces through public performances, murals, and other unique showcases.
Gael García Bernal, an executive producer of the documentary, noted at the South by Southwest film festival screening, “Acting out against constraints is a vital part of building an identity and challenging societal facades.” Both he and Diego Luna backed the film through their production house El Corriente del Golfo, although its distribution is still pending.
Gutiérrez Senger received acclaim from Gamboa and Valdez in interviews. Both contributors, featured in the documentary, viewed the film for the first time alongside a youthful audience of Chicano artists inspired by ASCO’s original radicalism. Gamboa expressed his satisfaction with the film capturing the cooperative spirit that defined ASCO, while Valdez appreciated the balanced representation she felt was previously overlooked.
ASCO emerged during the tumultuous Chicano civil rights movement era of the 1960s and 1970s among protests against educational inequality and the Chicano Moratorium’s anti-Vietnam War activism, which highlighted police violence toward Mexican Americans. The period saw Latino artists use murals and collective art as vehicles to process the systemic injustices they faced.
Gamboa’s motivation rose from a desire to shift mainstream perceptions about Chicanos, showing pathways for individual expression against societal constraints. Valdez’s experience as the sole female member exposed her to both racial and gender-based prejudices, further fueling her artistic expression within ASCO’s framework, particularly through performances that challenged authority and societal norms.
A notable ASCO act was “Spray Paint LACMA” when members Gronk, Gamboa, and Herrón tagged the Los Angeles County Museum of Art, stemming from a curator’s dismissive remarks about Chicanos and art. This was part of a broader dismissal period of Latinx art from American art narratives.
ASCO’s work involved bold public performances, such as carrying a large cross to a military recruiting office in their “Station of the Cross” Vietnam War protest. A 1974 image captured by Gamboa showed Gronk as a gang-violence victim, critiquing media sensationalism. In an ironic twist, the image was later misreported as authentic news.
Though initially overshadowed in the cultural mainstream, ASCO finally gained broader recognition in 2011 through an LACMA retrospective, which explored their performance and conceptual art. It was a significant acknowledgment of their contributions to the art world.
ASCO addressed the inadequate representation of Latinos in Hollywood through satirical art, as shown by Valdez’s styled imagery and their “No Movies” series, critiquing their stereotyped roles in films. This was a part of ASCO’s conscious decision to reflect Latino experiences creatively.
Throughout the documentary, Gutiérrez Senger showcases the influence of ASCO on upcoming Chicano artists, like Fabi Reyna and San Cha, capturing their modern interpretations of ASCO’s pioneering style. Testimonials from prominent Latino artists also emphasize the importance of sharing their cultural history.
Valdez encourages artists to continue breaking norms and expressing their identities without seeking approval. Gamboa reinforces this sentiment, urging artists not to let constraints silence their creativity. The documentary intends to remind future generations of ASCO’s lasting impact and the continued fight for representation and recognition.