An interview of Franco Mondini-Ruiz conducted 2004 July 7-8, by Cary Cordova, for the Archives of American Art, in Alameda and San Antonio, Tex.
Mondini speaks of his parents' disparate backgrounds; his repressed childhood in Boerne, Tex.; his family's electronics store; discovering that his brother was actually his half-brother; attending undergrad and law school at St. Mary's in San Antonio, Tex.; his Catholic rearing; raising his Latino consciousness during and after law school; his life as a successful lawyer; his ingratiation into both rich white and Latino cultures; his partying and coming-out as a gay man; his making of art as a counterpoint to his office work; advice for young Latino artists; the importance of cheap art; exoticizing of Mexican culture by Anglos; quitting law and his experience living in Mexico City; and being diagnosed with HIV. Mondini-Ruiz also speaks of opening his Infinito Botanica and how he operated it; American drug culture; San Antonio's cityscape and his "utopic" hope for it; his "Blue Star on Houston" exhibition; drug use; his show at Bard College as his big break; living with Alejandro Diaz; homosexual and Mexican rococo aesthetics; his exhibit at the 2000 Whitney Biennial and moving to New York City; the importance of found art; the universality of class and race struggles; the problems with over-materialization of artwork; his "Ballroom" show in Marfa, Tex. and the issues confronting that city's arts patronage; his making of the "Spurs Installation"; his new anti-materialistic mindset; and the patterns within his career. Mondini-Ruiz also recalls Michael Tracy, Ito Romo, Rolando Briseno, Sandra Cisneros, Jesse Amado, Donald Judd, Frederieke Taylor, Julia Herzberg, Danny Lozano, Maaretta Jaukkuri, Tracey Moffat, Mike Casey, and others.
Biographical / Historical:
Franco Mondini-Ruiz (1961- ) is an artist in New York. Legal name is Gino Francisco Mondini. Interviewer Cary Cordova (1970-) is an art historian from Austin, Tex.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 5 hrs., 12 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Hispanic American artists -- Texas -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.
The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
An interview of Alberto Mijangos conducted 2003 Dec. 5- 12, by Cary Cordova, for the Archives of American Art, in San Antonio, Tex.
Mijangos speaks of his family background, early childhood memories and early art education at San Carlos Academy of Art; the Air Force in Mexico; Los Tres Grandes, Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros; coming to the United States; painting bull fighters; leaving Texas for Chicago; favorite paintings at the Art Institute of Chicago; moving to San Antonio; suspicion of being a communist; becoming a Mexican diplomat; working with Mel Casas who led Mijangos to abstraction; Con Safo; difficulty in achieving respect from Americans; moving to Oaxaca, working there and trying to fit in; returning to San Antonio, changing his lifestyle; changing inspiration, Mark Rothko and Mijangos new use for color; tee-shirt paintings; his relationship with galleries; the artistic community of San Antonio; his use of numbers and fabric in his paintings; interest and use of photography in his artwork. Mijangos also recalls Raul Gamboa, Rufino and Olga Tamayo, Gabriel Sanchez, Francisco Goitia and others.
Biographical / Historical:
Alberto Mijangos (1925-2007) was an artist from San Antonio, Tex. Cary Cordova (1970- ) is an art historian from Austin, Tex.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 8 digital wav files. Duration is 4 hrs., 48 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painters -- Texas -- San Antonio -- Interviews Search this
Mexican American artists -- Texas -- Interviews Search this
This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.
The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
REELS 1835-1837: Artists' files containing correspondence, sales statements, price lists, exhibition catalogs and announcements, clippings, photos, and publicity material. Also included are 12 scrapbooks, 1959-1978, containing clippings, photos, guest lists, exhibition announcements, and invitations.
REEL 2057: A file on Peter Hurd, 1960-1967, containing correspondence between Electra Carlin and Hurd, and others; statements of Hurd's sales; consignment statements; and a receipt from Amon Carter Museum of Western Art.
Biographical / Historical:
Art gallery; Fort Worth, Tex. Originally named the gallery of Wonderful Things, 1957-1960.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1980 by Electra Carlin.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
3 Photographic prints (Unmicrofilmed, b&w, 8 x 10 in and smaller.)
Type:
Collection descriptions
Archival materials
Photographic prints
Sound recordings
Interviews
Date:
[ca. 1900-1979]
Scope and Contents:
Personal papers, mainly correspondence, as well as files on Texas art and artists compiled by Bywaters.
REELS 1512-1513: Correspondence, ca. 1950-1979, with artists, museum personnel, writers, and others; biographical data; a 20 p. transcript of an interview of Bywaters by Marla Redelsperger, October 3, 1975; a 2 part "Autobiographical Sketch With Slides of Works" delivered June 18, 1975, in Dallas; a monograph by Bywaters, ART MUSEUMS: REPOSITORIES OR CREATIVE CENTERS; exhibition catalogs of the Dallas Museum of Fine Arts; printed material about Bywaters; a personal photograph and photos of his works. Among the correspondents are Ivan Le Lorraine Albright, Alfred Barr, Mrs. George Bellows, Thomas Hart Benton, John Canaday, Jose Cisneros, René d'Harnacourt, J. Frank Dobie, Lloyd Goodrich, Carl Hertzog, Peter Hurd, Fiske Kimball, Tom Lea, A. Hyatt Mayor, Ben Nicholson, Georgia O'Keeffe, Andrew Wyeth, and William Zorach.
REELS 1648-1649: Files on 55 Texas artists, containing biographical material, photographs, and catalogs. The files were the result of Bywaters' solicitation of information as director of the Dallas Museum of Fine Arts and as a field worker for the Archives of American Art's Texas Documentation Pilot Project. Artists include: Jose Arpa, Henri Bert Bartscht, Keveau Bassett, John Biggers, Son Bradley, Milesio Casas, Cecil Long Casebier, Pat Colville, Ben L. Culwell, George Dahl, Otis Dozier, Edward G. Eisenlohr, Philip Hohn Evett, Xavier Gonzales, Wilfred Higgons, Dorothy Hood, DeForrest Judd, Chapman Kelly, Edmund D. Kinzinger, Tom Lea, Amy Freeman Lee, William Lester, Jim Love, Keith McIntyre, David McManaway, Octavio Medellin, Perry Nichols, Eleanor Onderdonk, Julian Onderdonk, Robert J. Onderdonk, Robert Preusser, Stephen T. Rascoe, Frank Reaugh, William Reily, Herbert Rogalla, E. M. Schiwetz, Lawrence Scholder, Vera Simons, Everett Spruce, Tom Stell, Robert Tiemann, Allie Tennant, Chester Toney, Olin H. Travis, Charles Unlauf, Wilbert Verhelst, Donald Vogel, Donald Weismann, Ralph White, Charles T. Williams, Bill Wiman, Dan Wingren, and Roger Winter.
REELS 3752-3753: Transcripts of oral history interviews with art patron Nina Cullinan (17 p.; reel 3752), and architect John F. Staub (31 p.; reel 3753), both conducted by Susan Bodin October 23, 1975. [Original cassette tapes are with the collection: Cullinan (1); Staub (2).
UNMICROFILMED: Three photographs relating to Bywaters' book Seventy-Five Years of Art in Dallas," 1978. One taken by Rogers, ca. 1918, is annotated "early art patron, Dallas," is of a woman inspecting possible purchases. Two taken by C.E. Arnold show the Dallas Fine Arts Building (destroyed in 1957) exterior, and an interior view, 1920, showing the Dallas Art Association permanent collection.
Biographical / Historical:
Painter, art historian, and museum director; Dallas, Texas. Director of the Dallas Museum of Fine Arts. Born 1906. Died 1989.
Provenance:
Donated 1979 by Jerry Bywaters except for the correspondence on reel 1512, which he lent for microfilming. Microfilmed as part of the Archives of American Art's Texas project. Three photographs were inadvertently not microfilmed.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
An interview of Rolando Briseño conducted 2004 March 16 and 26, by Cary Cordova, for the Archives of American Art, in San Antonio, Texas.
Briseño speaks of his family background; as a child going to Mexico during the summer; growing up in San Antonio; visiting the Witte Museum, taking art classes there; Jackie von Honts, a special tutor of Briseño; scholarship to Cooper Union in New York; Catholicism; Melita del Villar and realizing "Christian mythology"; exchange program with University of Texas, Austin and La Pontifica Universidad Católica del Peru, Lima, Peru; calling himself Chicano; passion for food; traveling around Europe; politics and its influence; coming to terms with his sexuality; graduate school at Columbia University; interest in boxing; involvement in Con Safo; working on a computer as opposed to painting; and the Historic and Design Review Commission of San Antonio. Briseño also recalls Roland Mazuca, Fernando de Syzslo, Santa Barraza, Sylvia Orozco, Kathryn Kanjo, Linda Pace, Jesse Amado, Chuck Ramirez, Franco Mondini-Ruiz, and others.
Biographical / Historical:
Rolando Briseño (1952-) is an artist from San Antonio, Texas. Cary Cordova (1970-) is an art historian from Austin, Texas.
General:
Due to technical problems the interview was recorded on both compact disc and mini disc.
Originally recorded on 2 sound discs and 2 compact discs. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 26 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painters -- Texas -- San Antonio -- Interviews Search this
Mexican American artists -- Texas -- Interviews Search this
This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.
The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
An interview of Jesse Amado conducted 2004 May 31 and June 7, by Cary Cordova, for the Archives of American Art, at the artist's studio, in San Antonio, Texas.
Includes artist's family background, personalities, and relationship of artist's mother and father; parents' occupations and the effect on the family; brother Gilbert; early influences and experiences in drawing; role of religion during childhood; experiences in school including parochial school and losing interest in 12th grade; experiences working with architect O'Neil Ford in high school; decision to go into the Navy; experiences and travels in the Navy; first impressions of New York City; interest in literature and reading on works and life, including T.S. Eliot, "Tom Sawyer," "The Odyssey;" first experiences with foreign film, especially L'Avventura; bilingualism including learning to speak English and it's possible influences on art; work after the Navy on a tanker; travels in Europe; New York City and experiences working and living there; decision to return to San Antonio; starting at San Antonio College and experience of returning to school; first paintings; attempt at teaching; joining the fire department and influences of that job on his art; MFA study at University of Texas, San Antonio; influences of professors including Steve Reynolds, Mel Casas, and Dave Hickey; major influential discussion with Dave Hickey and art that resulted; BFA show exhibition; beginnings of ideas of fragility and mutability in early pieces; relationship to Minimalism or Conceptual Art in works; the growing art scene in San Antonio and it's galleries, including FineSilver, Blue Star and Art Pace; relationships with other San Antonio artists including Franco Mondini, Chuck Ramirez, Rebecca Holland; discussion of Bemis Foundation show; artist's feelings on being a Latino or Chicano artist; possible Latino influences on his art; discussion of Latino culture and iconography; change from stronger tendencies in painting towards sculpture and installation pieces; discussion of works in the "Taking Liberties" exhibition [1992]; the artist's creation process; discussion of Antonioni's L'Avventura and its use in artist's work; use of text as a visual form; importance of backstory and context to artist's work; use of music and lyrics in work, including James Brown and the Beatles; interest in taglines and its use in art; interest in fashion especially fashion magazines and its use in art; introduction and use of DYMO tape in art; relationship and interactions with galleries and museums, especially the Whitney, Blue Star, FineSilver; Barbara Davis; use of digital photography in work; discussion of the economics of the gallery; the future of artist's work and the importance of the process for the artist in the future; role of Catholicism in artist's work; the exhibition "Renascence" at the Contemporary Arts Museum in Houston; influence of marriage and divorce on works.
Biographical / Historical:
Jesse Amadao (1951-) is an artist in San Antonio, Texas. Cary Cordoza (1970-) is an art historian.
General:
Originally recorded on 7 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 45 minutes.
Interview recorded on mini discs and compact discs.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.
The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
The papers of artist Jesse Amado measure 1.3 linear feet and date from circa 1970 to 2016. The collection is comprised of biographical material, writings and notes, professional files, printed material, photographic material, and artwork.
Scope and Contents:
The papers of artist Jesse Amado measure 1.3 linear feet and date from circa 1970 to 2016. The collection is comprised of biographical material, writings and notes, professional files, printed material, photographic material, and artwork.
Awards, greeting cards, license, and a resume are found in biographical materials. The papers also include early writings, notes, and fifteen notebooks. Professional files consist of agreements, exhibition and project files, a teaching file, and source material.
Printed materials consist of clippings, ephemera, exhibition catalogs and announcements, and an exhibition wall description. Photographs and negatives are of Amado, works of art, and personal subjects. Artwork includes a few drawings, a sketchbook, and portraits of Amado drawn by his students.
Arrangement:
The collection is arranged as six series.
Series 1: Biographical Material, circa 1983-2011 (Box 1; 4 folders)
Series 2: Writings and Notes, circa 1970-2016 (Box 1; 0.3 linear feet)
Series 3: Professional Files, 1990-2016 (Boxes 1-2; 0.4 linear feet)
Series 4: Printed Material, circa 1983-2016, undated (Boxes 1-2; 0.2 linear feet)
Series 5: Photographic Material, circa 1970-circa 2000 (Box 1; 0.2 linear feet)
Series 6: Artwork, circa 2010-2015 (Boxes 1-2; 3 folders)
Biographical / Historical:
Jesse Amado (1951- ) is an artist active in San Antonio, Texas.
In his youth Amado had aspirations to become an architect but lost interest later in high school. Amado joined the Navy at 17 becoming an east coast communications operator. He left the Navy after five years and moved to New York City. There, he visited art museums and became interested in art though he did not consider a career as an artist at this time. Instead, he studied English in college and graduated in 1977 from the University of Texas in Austin. He returned to San Antonio and became an English teacher in the public school system, but left this position a short time later. Following the suggestion of a friend, Amado joined the San Antonio fire department where he worked until retiring in 2002. Upon gaining a steady income, Amado began taking art classes at San Antonio College studying under Chicano artist Mel Casas. Amado continued to study fine art at the University of Texas in San Antonio in the 1980s. He earned another bachelor's degree as well as a master's degree in fine art in 1990. During this time he began exhibiting his artwork. He has since held numerous solo and group exhibitions of his work.
Amado completed residencies at San Antonio's Artspace, South Korea's City Gallery of Kwangju, the Bemis Center for Contemporary Arts in Omaha, N.E., and for the National Endowment for the Arts' Visual Arts Organization Grant at the Fabric Workshop and Museum of Philadelphia. His major projects include memorials for the San Antonio fire department and Days, an art installation in honor of Linda Pace at the San Antonio Central Library.
Related Materials:
Also at the Archives of American Art is an interview of Jesse Amado conducted May 31 and June 7, 2004 by Cary Cordova at the artist's studio, in San Antonio, Texas.
Provenance:
The papers were donated by Jesse Amado in 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
An interview of Santa Barraza conducted 2003 November 21-22, by Cary Cordova, for the Archives of American Art, in Kingsville, Texas.
Barraza speaks of her childhood, family and early education; picking cotton in the summer; the University of Texas, Kingsville; meeting Carmen Lomas Garza and learning graphic design; her daughter Andrea; involvement with Mayo, a Mexican-American Youth Organization; Austin, Tex. and the differences between UT Kingsville and UT Austin; and Acuña Rodolfo's book, "Occupied America: the Chicano's Struggle Toward Liberation," 1972. Barraza also discusses Jacinto Quirarte and the first formal art history class on Mexican-American art; the formation of MAS, Mujeres Artistas del Suroeste; the Conferencia del Plástica Chicana, held September 13-16, 1979 in Austin, Texas; Con Safo; use of the image of the Virgin of Guadalupe in her artwork; stories of witchcraft; La Llorona; MACLA, the Movimiento de Arte y Cultura Latino Americana, founded in 1989 in San Jose, California; teaching at Pennsylvania State University; her studio space in Kingsville, Texas; the distinction between Chicana and Latina; the visual artists Faith Ringgold and Leslie King Hammond whom Barraza admires; her travels to Oaxaca and other places; her book, "Santa Barraza, Artist of the Borderlands," 2001. Barraza also recalls Ben Bailey, Maurice Schmidt, José Rivera, Amado Peña, Israel Reyna, Sylvia Orozco, Barbina Modesta Treviño, Nora González Dodson, Rita Starpattern, Raquel Tibol, Jorge Bustamante, Liliana Wilson, Isabel Juárez, Viola Delgado, Kathy Vargas, and others.
Biographical / Historical:
Santa Barraza (1951-) is an artist from Kingsville, Texas. Cary Cordova (1970-) is an art historian from Austin, Texas.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 4 hr., 13 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Mexican American artists -- Texas -- Interviews Search this
This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.
The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Files on ca. 150 exhibitions held 1958-1979. Files contain correspondence, mainly with the directors William Jordan and Jerry Bywaters; bio. info on artists, photos, writings, price lists, bills, press releases, exhibition catalogs and announcements, clippings and printed material.
REELS 1680-1681: Exhibition files include Schedules for 1965-1966, SMU art rental, Prints by Masters, Oskar Kokoschka, Paul Flores Drawings, Eskimo Exhibition, Dan Wingren, University Collects, Edgar Tafur, Onda Exhibition, Old Master Prints, Museum of Modern Art Drawings, IBM: The Bold Tradition, Heritage of Edward Weston, French Museums Fortnight, Architect Chooses Art, The American Woman as Artist, Wingren: Art 26 Project '67, 20th Print National Exhibition, Student Art Shows, Mirror of the Artist, Kepes Exhibition, Jewish Exhibition, British Fortnight, American Watercolor Society, Schedule 1968-1969, Tobin Exhibition, Ten in Focus, Roten Sales, DeForrest Judd, Japan Art Festival, Italian Fortnight, Da Vinci Models, Baskin Prints, American Drawings, 10 Contemporary Figures, Student Art, 1969, 1970, S.W. Watercolors, Printmakers, People Figures, R. Kotoske, Jasper Johns, Faculty Exhibits, Michael Thomas, Asiatic Artists, Photography as Printmaking, Prints from the Dallas Museum of Fine Arts, North Texas Faculties, The Lakeside Studio Sales, Diane Hopkins, Graduate Student Exhibits, Drawings Exhibition, Contemporary Russian Painting, Contemporary American Masterpieces, Don Bradley, American Folk Art, Keith Achepohl, Possible Exhibits, 1970-1971, Howard Neufeld, Ex-students and activities file, Exhibitions completed-AFA, Exhibitions completed-Smithsonian, Exhibitions completed-Western Association of Art Museums, and Philbrook Art Center's Exhibition: Texas Collects 20th Century Art.
REEL 1908: Exhibition files include Recent Paintings by James Dowell, May 20-June 30 1979, Student Exhibition, MFA Qualifying Exhibition Schneider, Lovell, Peters, Bos, April 20-27 1979, MFA Qualifying Exhibition Hausman, Carlson, Jarzemsky, April 11-18 1979, Drawings: Matisse to Lichtenstein, February 20-April 8 1979, Drawings: Matisse to Lichtenstein Publicity and invitations, Egypt: Day and Night (Keith Achepohl), January 14-February 11 1979, Contemporary Paintings from the Meadows Collection, November 1-December 13 1978, Modern Sculpture from the Nasher Collection, September 17-October 22 1978, Faculty Show August-September 1978, Exhibition Committee, 1977-1978, and documentation from the 1971 "One i at a Time" exhibition, showing works by Charles Williams, Jim Love, Roy Fridge, David McManaway, Hal Pauley, and Roger Winter among others. Also included in addition to items mentioned previously is a catalogue with an introduction written by guest curator and former director of the Dallas Museum for Contemporary Arts, Douglas MacAgy.
Biographical / Historical:
Art gallery; Dallas, Tex.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1980 by University Gallery, Southern Methodist University.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Business correspondence; and files on artists, containing biographical material, correspondence, photographs, sketches, price lists, exhibition catalogs, and clippings. Information on Lamar Briggs, Fritz Scholder, Donald Roller Wilson, Joe Atteberry, Lucas Johnson, Arthur Turner, and others is included.
Biographical / Historical:
Art gallery; Houston, Texas Owned by Elizabeth C. Moody. Shows mainly Houston area artists.
Provenance:
Lent for microfilming 1979 by Elizabeth C. Moody.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Correspondence with W. King Ambler, John Taylor Arms, Jerry Bywaters, Doel Reed, James Swann, Maynard Walker, and print and art societies; a career resume and other biographical material; price lists of prints; a scrapbook containing clippings; exhibition catalogs and invitations.
Biographical / Historical:
Etcher, printmaker, and art instructor, Fort Worth, Tex.; b. 1895; d. 1970 Attended Pennsylvania Academy of Fine Arts, Chicago Art Institute, Washington University in St. Louis, and the Art Students League. Works reproduced in newspapers and magazines. Founded Fort Worth School of Fine Arts.
Provenance:
Loaned by Judy McVeigh Cordell, McVeigh's niece.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
An interview with Jose Villalobos conducted 2020 August 19, by Josh Franco, for the Archives of American Art's Pandemic Oral History Project at Villalobos' home in San Antonio, Texas.
Biographical / Historical:
Jose Villalobos (1988- ) is a sculptor and performance artist in San Antonio, Texas.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
An interview of Sylvia Orozco conducted 2004 Jan. 26-Feb. 2, by Cary Cordova, for the Archives of American Art, in Mexic-Arte Gallery, Austin, Tex.
Orozco speaks of her family history, having the best drawing in second grade, the earliest recollection of being an artist; Camp Fire Girls; painting for high school pep squad and protest signs; growing up in Cuero, Tex.; integration in high school; Texas A and I; the Raza Unida movement; University of Texas; the Conferencia del Plastica Chicana, held September 13-16, 1979 in Austin, Tex.; MECha, the Movimiento Estudiantil Chicano de Aztlan; the effect of her work as a curator on her ability to do her own artwork; CONACYT, National Council of Arts and Technology; her passion for Jose Clemente Orozco, Diego Rivera and David Alfaro Siqueiros; meeting Pio Pulido; LUChA, the League of United Chicano Artists; organizing an exhibition on Manuel Alvarez Bravo at the Texas Memorial Museum; the beginnings of Mexic-Arte Gallery; the group Women and Their Work; the installation "Counter Colon-ialismo"; alternative spaces and museums; and future plans for Mexic-Arte Gallery. Orozco also recalls Santa Barraza, Kelly Fearing, Mike Frary, Sam Coronado, Barbina Modesta Treviño, Nora Gonzalez-Dodson, Linda Pace, Rita Starpattern, Gilbert Cardenas, and others.
Biographical / Historical:
Sylvia Orozco (1954- ) is an artist from Austin, Tex. Cary Cordova (1970-) is an art historian from Austin, Tex.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 3 hrs., 55 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.
The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
An interview of Benito Huerta conducted 2004 Feb. 29-Mar. 2, by Cary Cordova, for the Archives of American Art, in Arlington, Tex.
Huerta speaks of his early childhood; interest in art; attending graduate school at New Mexico State University; the exhibition "Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors," 1987; interest in music and planning programs while attending undergraduate school at the University of Houston; his relationship with artist Mel Chin; his exhibition at the Contemporary Arts Museum, Houston; the Lynn Goode Gallery and an exhibition entitled "Aneurism"; criticism of his artwork; living in San Francisco for two years; Galería de la Raza; painting on black velvet; the exhibition "Chulas Fronteras (Beautiful Borders)" 1986; his chalupas series; the value of curating versus making his own art; "Seen and Unseen" at Diverse Works 1983; "Cowboys, Cadillacs, and Computers" Lawndale Art and Performance Center, University of Houston, 1985; his installation pieces; maps and global images in his work; his co-founding of the art Magazine "Artlies"; public commissions; connections to North Carolina; the Serie project; and the artists he has worked with since arriving at University of Texas, Arlington. Huerta also recalls David Caton, Jane Livingston, John Beardsley, René Yañez, Carmen Lomas Garza, John Hernandez, Kathy Vargas, Victor Zamudio Taylor, Bonnie Pitman, and others.
Biographical / Historical:
Beniton Huerta (1952-) is an artist from Arlington, Tex. Interviewer Cary Cordova (1970-) is an art historian.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Hispanic American artists -- Texas -- Interviews Search this
This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.
The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
