Popular Culture Review Vol. 15, No. 2 | Page 83

Down with the ‘‘Homies” 79 Table 1 Race Hispanic Origin Number of characters (N=122*) Gender Number of characters (N=122*) 109 (89%) African Origin 6 10 /. Male Female 93 (76 %) 29 (24%) Asian Origin Native American Origin Anglo Origin 1 ( 1%) *Nonhuman characters were excluded from these variables. These characters include a chili (El Chilote), death (La Muerte), a ghost (Lil Ghost), 2 dogs (Chato, a pit bull, and Cochino, a Chihuahua), a pigeon (Homie Pigeon), the Devil (Diablo), and one character who is deceased (Dreamer). Art? The idea that the Homies are an artistic expression, one that is socially subjective and subculturally influenced, is difficult for outsiders to fathom. That these characters are part of everyday life, a popular cultural presentation of self for the attentive observer of the barrio, is likewise difficult to imagine, let alone comprehend for many outsider observers. In these characters, the artist has captured something about his social system; he has frozen a moment in time, a place in memory, and a subculture at its most vulnerable and proud, with warts aplenty. The question of whether these figurines are art points to the debate about what is deemed worthy of being considered artistic. The aesthetic definition® of culture presented and refuted by Edles (2002) points to a cultural classification that is distinguished by an artistic sensibility usually cultivated within elitist circles.^ Typical explanations of culture embody a hierarchy in which some forms of expression are cultured, cultivated, or refined enough to be classified as art forms within this highbrow conceptual framework. In contrast, popular culture products like collectibles (as the Homies have become over time) are not up to this standard; thus they and those who covet them are considered by some as lowbrow and unrefined. Considering these arguments, it is apparent that Gonzales’s Homies figurines fall outside the arena of “high culture” for a variety of reasons. For example, Gonzales’s art form reflects his working-class, ethnic status. For critics to dismiss these figurines as art (whether they are good or bad forms of