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Tomás Ybarra-Frausto research material on Chicano art, 1965-2004

Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Subject:
Mesa-Bains, Amalia  Search this
Goldman, Shifra M.  Search this
Garza, Carmen Lomas  Search this
Mexican Museum  Search this
Royal Chicano Air Force  Search this
Studio 24 (San Francisco, Calif.)  Search this
Topic:
Mexican American arts  Search this
Photographs  Search this
Interviews  Search this
Hispanic American art  Search this
Santos (Art)  Search this
Mexican American artists  Search this
Slides (photographs)  Search this
Video recordings  Search this
Household shrines  Search this
Hispanic American artists  Search this
DVDs  Search this
Record number:
(DSI-AAA_CollID)5563
(DSI-AAA_SIRISBib)216281
AAA_collcode_ybartoma
Theme:
Latino and Latin American
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216281
Additional Online Media:

Tomás Ybarra-Frausto research material

Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Names:
Mexican Museum  Search this
Royal Chicano Air Force  Search this
Studio 24 (San Francisco, Calif.)  Search this
Goldman, Shifra M., 1926-2011  Search this
Lomas Garza, Carmen  Search this
Mesa-Bains, Amalia  Search this
Extent:
33.1 Linear feet
1.27 Gigabytes
Type:
Archival materials
Collection descriptions
Gigabytes
Photographs
Slides (photographs)
Interviews
Place:
Mexico -- Religious life and customs
Date:
1965-2004
Summary:
The research material of Tomás Ybarra-Frausto, measures 33.1 linear feet and 1.27 GB and dates from 1965-2004. The collection, amassed throughout Ybarra-Frausto's long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States and chronicles Ybarra-Frausto's role as a community leader and scholar in the political and artistic Chicano movement from its inception in the 1960s to the present day.
Scope and Content Note:
The research material of Tomás Ybarra-Frausto, amassed throughout his long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States. As community leader and scholar, Ybarra-Frausto played dual roles of active participant and historian in the Chicano movement, chronicling this unique political and artistic movement from its inception in the 1960s to the present day.

Deeply rooted in American history, "El Movimiento," the Chicano movement, evolved from Mexican-Americans' struggle for self-determination during the civil rights era of the 1960s. It began as a grassroots community effort that enlisted the arts in the creation of a united political and cultural constituency. Chicano artists, intellectuals, and political activists were instrumental in mobilizing the Mexican-American community for the cause of social justice, and the movement was shaped by the affirmation of a cultural identity that embraced a shared heritage with Mexico and the United States.

Just as "El Movimiento" aimed to instruct and inspire through the recollection and conservation of culture, Ybarra-Frausto's own career as scholar and historian helped to shape the intellectual discourse of the Chicano art. As a leading historian and theoretician in the field of Chicano Studies, he has written extensively on the subject, and has been instrumental in defining the canons of Chicano art. His papers are accordingly rich and varied, and they will be of great use to future scholars.

His research material, dating from 1965 to 1996, are arranged in subject files containing original writings, notes, bibliographies compiled by Ybarra-Frausto and others, exhibition catalogues, announcements, newspaper clippings and other printed material, as well as slides and photographs. Many of these files also include interview transcripts and correspondence with prominent figures in the movement. While this research collection contextualizes Chicano art within the larger framework of Latino and Latin-American culture, the bulk of the files relates specifically to Chicano visual culture. The collection also contains pertinent documentation of the Chicano civil rights movement, material on Chicano poets and writers, and research files on the wider Hispanic community, but these also appear within the context of Chicano culture in general.

Prominent among the bibliographies are the many notes and drafts related to the publication of A Comprehensive Annotated Bibliography of Chicano Art, 1965-1981 (University of California, Berkeley, 1985), which Ybarra-Frausto co-authored with Shifra Goldman. Ybarra-Frausto's files on Goldman, like other files in the collection, document his close associations and collaborations with scholars.

Art historians have traditionally found the categorization of Chicano art a difficult task. Unsure whether to classify the work as "American" or "Latin American," critics often ignored the work altogether. An outgrowth of this dilemma was the proliferation of artists, curators, and critics within the Chicano community, and the papers contain many original writings by Chicano artists about Chicano art, found in extensive files on artists that will be of particular significance to researchers. These often contain exhibition essays, dissertation proposals, and course outlines authored by the artists, along with the standard biographies, exhibition records, and reviews. Some of the files contain rare interviews conducted and transcribed by Ybarra-Frausto. Highlights include conversations with Carmen Lomas Garza, Amalia Mesa-Bains, and members of the Royal Chicano Air Force artist cooperative.

As a member of several Chicano art organizations and institutions, Ybarra-Frausto kept active records of their operation. The extensive files on the Mexican Museum and Galerie de la Raza/Studio 24, both in San Francisco, not only chronicle the history of Chicano art through the records of exhibitions and programming, but also offer case studies on the development of non-profit art institutions. The files on artist cooperatives, organizations, and exhibition spaces cover several regions of the United States, but focus on California, Texas and New York.

Two notable events in the development of Chicano art were the 1982 Califas: Chicano Art and Culture in California seminar at the University of California at Santa Cruz, and the 1990 traveling exhibition Chicano Art: Resistance and Affirmation, 1965-1985 (CARA), of which Ybarra-Frausto served as organizer and catalogue essayist. His records document the planning and development of these seminal events. Ybarra-Frausto's files on folk art, altars, posters, murals, performance art, border art, Chicana feminist art, and Southwestern and Mexican imagery (both urban and rural expressions) mirror the diverse forms and subject matter of Chicano art.

Spanning almost four decades of American culture from a Chicano perspective, these files have a unique historical value. The legacy of Chicano art and its contribution to the cultural landscape of this country, kept alive in Ybarra-Frausto's files, attests to the richness and diversity of American art.

Henry C. Estrada

Research Fellow, 1997.
Arrangement:
The collection is arranged as a single series of subject files. The general contents of each folder have been listed. The subject files are arranged in alphabetical order. While no two files are alike, they may contain résumés, printed and digital material, letters, draft writings, and photographs. Unless otherwise noted, each listing represents one file folder. The abbreviation TYF was used to refer to the name Tomá Ybarra-Frausto throughtout the Series Description.
Autobiographical Note:
Papelitos (little bits of paper), whether rent receipts, paid bills, or piles of personal letters, can become layered bundles of personal history. I have always been a pepenador (a scavenger) and saver of paper scraps. Diary notes, scribbled annotations, and first drafts are often useful indicators of ideas and gestation. Papelitos are the fragments of every-day life that gain expanded meaning integrated into the larger historical events of a period.

In the decade of the 1960s, I started saving ephemeral material--exhibition announcements, clippings of individual artists and of organizations fomenting a Chicano art movement. The social scenarios of the period such as marches, strikes, sit-ins, and mobilizations for social justice all spawned manifestos, posters, leaflets, and other forms of printed material. I somehow managed to assemble and protect the evanescent printed information that recorded the birth and development of Chicano art.

As I started to research and write about Chicano art and artists of the period, I continued to clip, photocopy, and preserve material given me by Mexican-American artists from throughout the nation. My idea was to form an archive that would be comprehensive rather than selective. I knew that it was the offbeat, singular piece of paper with a missing link of information that would attract the scholar.

Today, several decades after the flowering of Chicano art, there is still a lamentable paucity of research and information about this significant component of American art.

It is my fervent hope that this compendium of information will function as a resonant print and image bank for investigators of Chicano culture. Perhaps contained within the archive are the facts that will inspire new visions or revisions of Chicano art and culture--this is my fondest dream.

Dr. Tomás Ybarra-Frausto

New York City, 1998
Provenance:
The collection was donated to the Archives of American Art by Tomás Ybarra-Frausto in 1997, and in 2004.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Tomás Ybarra-Frausto research material is owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Santos (Art)  Search this
Hispanic American art -- Sources  Search this
Mexican American artists -- Sources  Search this
Hispanic American artists -- Sources  Search this
Household shrines -- Mexico  Search this
Mexican American arts -- Sources  Search this
Genre/Form:
Photographs
Slides (photographs)
Interviews
Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ybartoma
See more items in:
Tomás Ybarra-Frausto research material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ybartoma
Additional Online Media:

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