Four folders of correspondence primarily document exhibitions and other events Casas participated in. Correspondence related to his participation in symposia and other programs includes Arte-Arts regarding a 1984 symposium "Images for the '90s," San Antonio radio station KURU 89.1 FM, the San Antonio Art League, the San Antonio Women's Caucus for the Arts, and INTAR Gallery, where Casas served as a guest panelist for a 1986 symposium on Chicano/Mexican-American Art.
There are two letters from Shifra M. Goldman, one of which expresses her interest in writing about Casas, and correspondence from San Antonio College, including material related to Casas's receipt of an award at the Seventh Annual Tribute to the Chicano Arts recognizing "outstanding achievements of contemporary Hispanic artists."
Correspondence with galleries and museums relates to exhibitions with Aspen Art Museum, ¡Mira! Canadian Club Hispanic Art Tour, and Frito-Lay, Inc. Also found are correspondence, check lists, loan agreements, and material relating to the exhibition catalog essay, for Casas's retrospective at the Laguna Gloria Art Museum. Additional printed material for exhibitions can be found in Series 4: Printed Material.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
(catalogs: The Mexican Museum Catalog of Selections from Its Collection With Introductions to Mexican and Mexican American Art, 1981; The Mexican Museum, 1983, with essay on Alfredo Arreguín by TYF; Lo Del Corazón: Heartbeat of a Culture, 1986, with text by Amalia Mesa-Bains and TYF; TYF's notes on Lo Del Corazí; From the West: Chicano Narrative Photography, 1996; Ceremony of Spirit, 1993; The Chicano Codices: Encountering Art of the Americas, 1992; Chicano Progeny: Investigative Agents, Executive Council, and Other Representatives from the Sovereign State of Aztlán., 1995; "Press Conference for design Architect" binder, 1995)
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
This scrapbook includes articles, newspaper clippings, letters and photographs from various events and marches Grace participated in regarding the fight for returning surplus lands to Native peoples. These events and materials include--Fishing Rights March (1970) in Yelm, Washington with the McCloud family; Fort Lawton "Surplus" March (1970) in Seattle, Washington; Pit River versus P.G..E. (1970) in Big Bend, California; DQU, Deganawidah Quetzalcoatl University founding (1971) in Davis, California; and documentation as National Commitee Director for the "Return Surplus Lands to Indian People".
The cover and back of the scrapbook binder are in Box 12 since they are oversized.
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: firstname.lastname@example.org).
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to email@example.com. For personal or classroom use, users are invited users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.
Identification of specific item; Date (if known); Grace F. Thorpe Collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Interviews of brothers José and Malaquias Montoya conducted 1988 Feb. 28-June 2, by Eduardo Hernandez, for the Archives of American Art.
The Montoya's recall growing up as Mexican-Americans in a rural town in Colorado; moving to urban areas in California; their early education and development of their political awareness; and their artistic experiences, including their founding of the Royal Chicano Air Force, a group working primarily as muralists.
Biographical / Historical:
José Montoya (1932-2013) was a Mexican-American poet and artist in Sacramento, Calif. Malaquias Montoya (1938- ) is a Mexican-American artist in Oakland, Calif. He and his brother José founded Royal Chicano Air Force, a group working primarily as muralists
An interview of Frank Romero conducted 1997 January 17-March 2, by Jeffrey Rangel, for the Archives of American Art, in Romero's studio, in Los Angeles, Calif.
Romero discusses his growing up in East Los Angeles and his large extended family; his earliest art studies in the public schools; attending the Otis Art Institute where he studied with Joe Mugnaini and had contact with Millard Sheets and Peter Voulkos; the "very polyglut culture" of East Los Angeles; the influences of television, western movies, rock-and-roll, and rhythm and blues on his early musical/artistic taste; time spent in New York; returning to Los Angeles in 1969; and his marriage and family.
He describes his move into Carlos Almaraz's house which became the informal meeting place of the artist group Los Four (Almaraz, Romero, Gilbert Sanchez Lujan, and Roberto "Beto" de la Rocha); the Los Four show at the Los Angeles County Museum of Art in 1974; and the stylistic aesthetics of Los Four.
Romero describes the "boys club" nature of Chicano art centers; his contributions to the Chicano art movement; his relationship to the Chicano/Mexican culture and mainstream U.S. culture; murals done by members of Los Four for the Inner City Mural Program; his work for the Metropolitan Transit Authority; the Murals of Aztlan exhibit in 1981 at the Craft and Folk Art Museum; and his shows at the ARCO Center for the Visual Arts. He concludes with his assessment of the Chicano arts movement, the relationship between economic and art cycles, and the role of the more established artists to those of a younger generation.
Biographical / Historical:
Frank Romero (1941- ) is a painter from Los Angeles, Calif.
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 27 min.
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.
Transcript available on the Archives of American Art website.
Muralists -- California -- Los Angeles -- Interviews Search this
Painters -- California -- Los Angeles -- Interviews Search this
This interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Funding for the digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.