Olga U. Herrera - The Institute for Latino Studies - University of Notre ...

More documents

Recommendations

Info

iv Acknowledgments v Preface ix Foreword 3 Introduction 5 Latin American Art at US Midwestern World Expositions, 1893–1904 6 The World’s Columbian Exposition of 1893 9 The Pan-American Exposition of 1901 11 The St. Louis Louisiana Purchase Exposition of 1904 14 Immigration and Settlement: Establishing Communities in the Midwest, 1900s–1910s Onwards 14 European Migration 15 A Growing Latin American Presence 16 The Railroads 17 Mexican Political Exiles 19 Population Growth through the Midwest 20 Diasporic Communities 21 The 1920s: Mexicanidad and the Midwest 22 Hull-House 25 Postrevolutionary Mexican Culture Returns to Its Roots 27 The 1930s: Mexican Artists in the United States 28 Diego Rivera: A Figure of Controversy 31 Art and the New Deal 34 Beyond Muralism 35 The Early 1940s: Looking at the Western Hemisphere Anew 37 The Mid-1940s to Early 1960s: Artists Joining Academia and Establishing First Commercial Galleries 37 Carlos Lopez 38 Mauricio Lasansky 39 Rufino Silva 40 Jean Charlot 41 Enrique Riverón and IndeX 42 Hugo Rodriguez de Soto and Gallery 4 42 Pan-American Games and Pan-American Art 43 The 1940s and 1960s: A New Demographic Shift, Puerto Rico and Cuba 44 The Mid-1960s: The Foundations of a Midwest Latino Art 44 María Enríquez de Allen 44 Carlos Cortéz 45 The New Generation 46 The Late 1960s and Early 1970s: The Contemporary Mural Movement 46 The People’s Art 48 Collaborations and Collectives 53 The Mid- to Late 1970s: Towards the Creation of a Latino Art Infrastructure 53 Raza Art & Media Collective 55 Organizations in Michigan Contents 56 The Task Force on Hispanic American Arts 57 Nuestras Artes de Michigan 58 The 1980s: New Art Organizations, New Art Spaces, Blockbuster Exhibitions, and Multiculturalism 58 MIRA 59 The Mexican Fine Arts Center Museum 62 Activity in Wisconsin and Michigan 63 The Art of the ‘Fantastic’ 65 Multiculturalism 66 The 1990s: Asserting a Pan-Latino Identity 66 The Chicago Show vs. In the Heart of the Country 68 Reactions to the Columbus Quincentennial 69 Seeking Visibility and Space 75 Globalization and the New Millennium 76 Works Cited 81 Exhibition Lists 82 Latin American Artists 102 Latino Artists 145 Selected Bibliography 146 Books and Articles 157 Calendars and Calendarios 158 Film Documentaries 158 Artists’ Websites 159 Organizations’ Websites 159 Oral Histories 159 Archival Collections 160 Archival Documents iii
Acknowledgments The Institute for Latino Studies at the University of Notre Dame is pleased to present this publication, Toward the Preservation of a Heritage: Latin American and Latino Art in the Midwestern United States. Since its founding in 1999, the visual arts have been an integral part of the Institute’s research agenda and educational activities through academic courses, visiting professorships and artist-in-residence programs, exhibitions, education and public programs, and conferences. In 2005 the Institute’s visual arts activities expanded to the areas of documentation and preservation through a partnership with the Museum of Fine Arts, Houston, International Center for the Arts of the Americas’ Documents of 20th-Century Latin American and Latino Art, A Digital Archive and Publications Project and, more recently, with the Institute’s own three-year Midwest Latino Arts Documentary Heritage Project. In keeping with its mission to promote understanding and appreciation of the social, cultural and religious life of US Latinos through advancing research, expanding knowledge, and strengthening community, the Institute has been building a solid foundation as a research center in Latino visual arts in the Midwest. With the founding of its own Galería América in 1999 and through partnerships with the Crossroads Gallery in downtown South Bend and the Snite Museum of Art, the Institute has offered a rich and varied schedule of local, regional, and national exhibitions opening new venues to Latino art and artists. Its growing oral history program and archives complement an expanding Latino studies library collection that supports scholarly investigation. The Institute’s art research flagship is the Midwest Latino Arts Documentary Heritage Project, a three-year pioneering effort that will survey and increase access to primary source materials that document twentieth-century Latino arts in the Midwestern United States. Unique in its approach, the project team combines the subject expertise of art historians and an archivist to locate and survey the collectives, museums, galleries, cultural centers, and individuals associated with the creation and exhibition of Latino art and to work with the libraries and archives that are key to preserving this important heritage. The project intersects with the above-mentioned hemispherewide initiative launched by the Museum of Fine Arts, Houston, a multiyear project directed by Mari Carmen Ramírez. iv With an initial pilot project begun in October 2005, the Institute has convened summits in the states of Illinois, Michigan, Indiana, and Wisconsin to bring together artists, art administrators, librarians, archivists, and friends of the arts to discuss the major moments in Latino visual arts in their respective states; to identify the players—the organizations, institutions, individuals, and artists’ collectives—that have had a role in the development of art activities in the Midwest; to determine where primary sources reside; to assess the state of preservation of and access to archival collections in repositories or private collections; and to strategize actions that will preserve this rich heritage as legacy for future generations. Components of the project include field surveys of artists and organizations’ collections and assessment of archival repositories throughout the Midwest and the “preserving art history” workshops conducted by Geof Huth, consultant and director of Government Records Services at the New York State Archives. A project such as this would not be possible without the support of a great art community. In our first year of endeavors we thank all the artists, organizations, and individuals who so generously have shared information and selflessly contributed to our quest for new knowledge about this aspect of Latino and American history. On behalf of the Midwest Latino Arts Documentary Heritage Project team, I would like to extend a warm thank you to the following organizations: the Aldo Castillo Gallery, Artes Unidas de Michigan, the Casa de Unidad Cultural Arts and Media Center, the Chicago Public Library, the Indiana Arts Commission, the Indianapolis Museum of Art, Latino Arts, Inc., Michigan State University, the National Museum of Mexican Art, the Nebraska Historical Society, POLVO, ProsArts Studios, and the Snite Museum of Art. A heartfelt thank you goes to Ana Cardona, Nora Chapa Mendoza, David Conklin, Jesse Gonzalez, Theresa Melendez, Ursula Murray, Veronica Paiz, Diana Rivera, Ozzie Rivera, and Vito Valdez in Michigan; George Vargas in Texas; Peter Alter, René Arceo, Aldo Castillo, Mario Castillo, Miguel Cortez, Héctor Duarte, Eladio González, Carol LeBras, Linda Lutton, Jesús Macarena-Avila, Ed Maldonado, Rebecca Myers, Leslie Patterson, Andrew Rebatta, Elvia Rodríguez-Ochoa, Bart Ryckbosch, Paul Sierra, Robert Sloane, Bibiana Suárez, Carlos Tortolero, and the staff of the Art Institute of Chicago, and the Chicago Public Library in Illinois; Kaytie Johnson, Chuck Loving, Craig Martin, Michael Quintero, Lewis Ricci, Ramiro Rodriguez, and Sachi Yanari- Rizzo in Indiana; Judith Huacuja in Ohio; Irissol Arce, Alicia Avila, Dan Banda, José Chavez, Robert Cisneros, Raoul Deal, Zulay Febres-Cordero Oszkay, Michael Flanagan, Mark Fraire, Reynaldo Hernandez, Estrellita Herrera-Meinholz, Sandra Martinez, Wence Martinez, Francisco Mora, Victor Mora, and Rosa Zamora in Wisconsin. A special thank you to Carlos Tortolero, Tomás Ybarra-Frausto, and team member Víctor A. Sorell and for their support and insightful comments. A great project relies on a great staff. We thank our colleagues at the Institute for Latino Studies who have supported our work, especially Allert Brown-Gort, Tom Davis, Andrew Deliyannides, Caroline Domingo, Doug Franson, Brett Keck, Idalia Maldonado, Donna Ring, Maribel Rodriguez, Zoë Samora, and Vickie Wagner, as well as research and editorial assistants Alexandra Bott, Sarah Budds, Melissa Fisher, Erica Hansen, and Jeremiah Waggoner; and Jane Norton and José Jorge Silva of Creative Solutions (book design). As we embark on the second year of the project we look forward to working with organizations and individuals in Iowa, Kansas, Minnesota, Missouri, Ohio, and Nebraska. This publication and the Midwest Latino Art Documentary Heritage Project is made possible by a grant from the Getty Foundation, which provides support to institutions and individuals throughout the world, funding a diverse range of projects that promote the understanding and conservation of the visual arts. The grant-making Foundation is a program of the J. Paul Getty Trust, an international cultural and philanthropic institution devoted to the visual arts that also includes the Getty Conservation Institute, the J. Paul Getty Museum, and the Getty Research Institute. Gilberto Cárdenas Director Institute for Latino Studies University of Notre Dame
Page 1 and 2: ��
Page 3: ii The Getty Foundation The Getty F
Page 7 and 8: Preface vi 2007 Matt Cashore Tracy
Page 9 and 10: viii 2007 Matt Cashore
Page 11 and 12: Foreword Herrera’s seminal work c
Page 13 and 14: Foreword It is not surprising, ther
Page 15 and 16: Foreword 1960s and early 1970s. Nor
Page 17 and 18: xvi Cover of ¡Arte Caliente! Selec
Page 19 and 20: Archival collection of the Julian S
Page 21 and 22: 1890s 1900s 1910s 1920s 1930s 1940s
Page 23 and 24: 1890s 1900s 1910s 1920s 1930s 1940s
Page 25 and 26: 1890s 1900s 1910s 1920s 1930s 1940s
Page 27 and 28: 1890s 1900s 1910s 1920s 1930s 1940s
Page 29 and 30: 1890s 1900s 1910s 1920s 1930s 1940s
Page 31 and 32: 1890s 1900s 1910s 1920s 1930s 1940s
Page 33 and 34: 1890s 1900s 1910s 1920s 1930s 1940s
Page 35 and 36: 1890s 1900s 1910s 1920s 1930s 1940s
Page 37 and 38: 1890s 1900s 1910s 1920s 1930s 1940s
Page 39 and 40: 1890s 1900s 1910s 1920s 1930s 1940s
Page 41 and 42: 1890s 1900s 1910s 1920s 1930s 1940s
Page 43 and 44: 1890s 1900s 1910s 1920s 1930s 1940s
Page 45 and 46: 1890s 1900s 1910s 1920s 1930s 1940s
Page 47 and 48: 1890s 1900s 1910s 1920s 1930s 1940s
Page 49 and 50: 1890s 1900s 1910s 1920s 1930s 1940s
Page 51 and 52: 1890s 1900s 1910s 1920s 1930s 1940s
Page 53 and 54: 1890s 1900s 1910s 1920s 1930s 1940s
Page 55 and 56:
1890s 1900s 1910s 1920s 1930s 1940s
Page 57 and 58:
1890s 1900s 1910s 1920s 1930s 1940s
Page 59 and 60:
1890s 1900s 1910s 1920s 1930s 1940s
Page 61 and 62:
1890s 1900s 1910s 1920s 1930s 1940s
Page 63 and 64:
1890s 1900s 1910s 1920s 1930s 1940s
Page 65 and 66:
1890s 1900s 1910s 1920s 1930s 1940s
Page 67 and 68:
1890s 1900s 1910s 1920s 1930s 1940s
Page 69 and 70:
1890s 1900s 1910s 1920s 1930s 1940s
Page 71 and 72:
1890s 1900s 1910s 1920s 1930s 1940s
Page 73 and 74:
1890s 1900s 1910s 1920s 1930s 1940s
Page 75 and 76:
1890s 1900s 1910s 1920s 1930s 1940s
Page 77 and 78:
1890s 1900s 1910s 1920s 1930s 1940s
Page 79 and 80:
1890s 1900s 1910s 1920s 1930s 1940s
Page 81 and 82:
1890s 1900s 1910s 1920s 1930s 1940s
Page 83 and 84:
1890s 1900s 1910s 1920s 1930s 1940s
Page 85 and 86:
1890s 1900s 1910s 1920s 1930s 1940s
Page 87 and 88:
1890s 1900s 1910s 1920s 1930s 1940s
Page 89 and 90:
1890s 1900s 1910s 1920s 1930s 1940s
Page 91 and 92:
1890s 1900s 1910s 1920s 1930s 1940s
Page 93 and 94:
1890s 1900s 1910s 1920s 1930s 1940s
Page 95 and 96:
1890s 1900s 1910s 1920s 1930s 1940s
Page 97 and 98:
1890s 1900s 1910s 1920s 1930s 1940s
Page 99 and 100:
Latin American Artists Dates Exhibi
Page 101 and 102:
Latin American Artists 1931, Feb. 1
Page 103 and 104:
Page 105 and 106:
Page 107 and 108:
Page 109 and 110:
Latin American Artists 1987, Oct. 2
Page 111 and 112:
Page 113 and 114:
Page 115 and 116:
Latin American Artists 2002, Jan. 1
Page 117 and 118:
Page 119 and 120:
Latino Artists Dates Exhibition Tit
Page 121 and 122:
Page 123 and 124:
Page 125 and 126:
Page 127 and 128:
Page 129 and 130:
Latino Artists 1987, May 12- June 2
Page 131 and 132:
Page 133 and 134:
Page 135 and 136:
Page 137 and 138:
Latino Artists 1993, June 18- Sept.
Page 139 and 140:
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
Page 147 and 148:
Latino Artists 2000, Apr. 28- June
Page 149 and 150:
Page 151 and 152:
Page 153 and 154:
Page 155 and 156:
Latino Artists 2004, Dec. 10- 2005,
Page 157 and 158:
Page 159 and 160:
Latino Artists 2006, Oct. 12- 2007,
Page 161 and 162:
Toward the Preservation of a Herita
Page 163 and 164:
Bancroft, Hubert Howe. The Book of
Page 165 and 166:
Edelman, Catherine. María Martíne
Page 167 and 168:
Jewell, E. A. “Exhibition of Mexi
Page 169 and 170:
Newland, Randa. “The Iowa Print G
Page 171 and 172:
———. Chicago Latino Project.
Page 173 and 174:
Whalen, Carmen Teresa. “Coloniali
Page 175 and 176:
Selected Organizations’ Websites*
Page 177:
��
show all

Olga U. Herrera - The Institute for Latino Studies - University of Notre ...

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?