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.
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.
An interview of Kathy Vargas conducted 1997 November 7-25, by Jacinto Quirarte, in San Antonio, Texas, for the Archives of American Art.
Biographical / Historical:
Kathy Vargas (1950-) is a photographer and art director in San Antonio, Texas. Vargas is the director of the visual arts program at the Guadalupe Cultural Arts Center in San Antonio.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 8 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. Funding for this interview provided by the Smithsonian Institution's Latino Pool Fund.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Arts administrators -- Texas -- San Antonio -- Interviews Search this
Topic:
Women artists -- Texas -- San Antonio -- Interviews Search this
Mexican American photographers -- Interviews Search this
Hispanic American photographers -- Interviews Search this
Photographers -- Texas -- San Antonio -- Interviews Search this
(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)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
(non-profit art space, Phoenix, Arizona; clippings; exhibition brochures; projected goals and mission statements; exhibition announcements; symposia materials for: The Style and Meaning of Chicano Art: list of participants and schedule (TYF was a panelist), and Post-Chicano Generation Art: Breaking Boundaries; catalog, Rasquachismo, curated by TYF, Lennee Eller, Rudy Guglielmo, with essays by TYF, Shifra Goldman and John L. Aguilar; organization history; partial grant application; letter to TYF from Rudy Guglielmo, Executive Director, MARS, 11/02/1987; oversize poster; "Member Letter" newsletter, Sept. 1986 - April 1987; July 1987)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
(photocopy of letter of recommendation to Bob Lever, from TYF, 04/01/91; letters to TYF from Vargas, circa 3/1991, 03/04/1992, 08/20/1990, 03/13/1993; catalogs; exhibition announcements; note to TYF from Vargas circa 08/10/1994; letters to TYF, undated and 04/28/1992, mentioning Lucy Lippard; note to TYF from Vargas, 04/20/1993; letter to TYF from Vargas, 03/15/1992, metioning Robert Buitrón and Benito Heurta; resume; clippings; ArtPace International Artist-In-Residence Program, 1997; essay by Vargas)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
(photographs of art; "poster poems" including "Will not harm the ozone" by Angela de Hoyas; symposium/exhibition announcement, keynote address by Lucy R. Lippard: "Contemporary Art By Women", 1990; class, workshop and event schedules; letter to TYF from Kathy Vargas, circa 12/1983; San Antonio Cinefestival Prospectus and Schedule; theater programs; "call for entries" posters, flyers and brochures; Tejano Conjunto Festival program; GCAC informational packet; exhibition announcements; "Friends of Folk Art," San Antonio Museum Association, flyer; catalogs; ; letter to TYF from Linda Cuellar, co-director San Antonio CineFestival 1988, 09/21/1988; San Antonio book fair flyers; membership brochures; letter to TYF from Suzanne M. Sato, Rockefeller Foundation, 05/04/1989, re. funding for GCAC and notes (not TYF's); Latino Caucus Minutes, Oklahoma City, 06/09/1990; TYF's notes [from Latino Caucus?]; note to TYF from Kathy Vargas, 09/18/1991; letter to TYF from Yvette Nieves-Cruz, 06/10/1991, re. Dialogues In Movement: A Chicano Media Arts Retrospective, with enclosures; clippings; letter to TYF from Pedro Rodgriguez, 08/26/1991, re. pre-conference meeting for the national conference of Latino arts and culture and related documents; invitations; National Association of Latino Arts and Culture - NALAC - Newsletter, vol.2, no. 1, March-April 1994; note to TYF from Pablo, 07/09/2001; Christmas cards to TYF from GCAC; GCAC newsletter: vol. 1, no. 8, October 1987; vol. 2, no. 3, January 1988-vol.4 no.6, March 1990; vol. 6, no. 5, February 1991-vol.6, no.8, May 1991; vol. 6, no. 19, July 1991; vol. 7, no. 1, October 1991-vol. 7, no. 2, Novemeber 1991; vol. 7, no. 9, June 1992-vol. 8, no. 3, March, 1993 - there are some errors in the numbering of volumes and issues; The GCAC News [continuation of the newsletter?]: vol.1, no. 1, May/June, 1993-July/August/September, 1993; vol. 2, no. 1, January/February/March 1994; vol. 2, no. 4, October/November/December 1994-vol. 3, no. 2, April/May/June 1995; vol. 4, no.1, January/February/March 1996; vol.4, no. 3, July/August/September 1996-vol. 5, no. 1, January/February/March 1997; vol. 5, no. 4, October/November/December 1997-January/February/March 1998; vol. 6, no. 1, July/August/September, 1998-October/November/December, 1988)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
The papers of San Antonio-based educator and photographer Kathy Vargas measure 10.8 linear feet and date from circa 1965-2016. Vargas's career is documented through biographical material, correspondence, writings and notes, project and exhibition files, professional files, and printed material.
Scope and Contents:
The papers of San Antonio-based educator and photographer Kathy Vargas measure 10.8 linear feet and date from circa 1965-2016. Vargas's career is documented through biographical material, correspondence, writings and notes, project and exhibition files, professional files, and printed material.
The collection contains biographical materials, including a video recording of an interview, photographs of family and friends, and records for Vargas's studies at the University of Texas. Correspondence is with Lucy Lippard, Jim Goldberg, Jeff Perrone, colleagues, and others. Topics of professional correspondence includes exhibitions, publications, and residencies. Writings and notes that include five notebooks, manuscripts by Vargas and others, notes, and lecture and panel talks. Project and exhibition files document her work on major exhibitions of Chicano art, and include twelve sound recordings of interviews for the exhibition Hospice: A Photographic Inquiry. Other projects include the Guerrilla Girls Fotonovela and research on San Antonio shrines. Professional files document Vargas's activities on various boards and committees, employment, and for her work on selection panels. Printed material includes clippings, exhibition material, magazines, posters, and other publications.
Arrangement:
The collection is arranged as six series.
Series 1: Biographical Material, circa 1965-2014 (Boxes 1, 12; 0.4 linear feet)
Series 2: Correspondence, 1979-2014 (Boxes 1-5, 12; 4.0 linear feet)
Series 3: Writings and Notes, circa 1985-2014 (Boxes 5-6; 1.0 linear feet)
Series 4: Project and Exhibition Files, 1984-2004 (Boxes 6-8, 12; 2.0 linear feet)
Series 5: Professional Files, 1975-2016 (Boxes 8-9; 1.0 linear feet)
Series 6: Printed Material, 1974-circa 2010 (Boxes 9-12, OV 13; 2.4 linear feet)
Biographical / Historical:
Kathy Vargas (1950- ) is an educator and photographer in San Antonio, Texas.
Vargas's early influences were the stories of her elder family members, Catholicism, and her uncle Antonio Valdez, a photographer. In the early 1970s, Vargas became acquainted with rock and roll photographers who introduced her to their world of professional photography. Her interest led to taking photography classes at the Southwest Craft Center where she studied under photographer Tom Wright. She quickly became captivated with the art form and started freelancing as a rock and roll photographer. Around this time, Vargas also became familiar with Chicano art and the artist group Con Safo, co-founded by Mel Casas. Vargas and Casas maintained their friendship until his death.
In addition to attending the Southwest Craft Center, Vargas also attended San Antonio College. She went on to earn a Bachelor of Fine Art in 1981 and a Master of Fine Art in 1984 from the University of Texas in San Antonio. Vargas has exhibited her work, as well as curated numerous exhibitions in the U.S. and abroad, collaborating with colleagues such as Jim Goldberg, close friend Lucy Lippard, and others. Vargas is a professor and art department chair at the University of the Incarnate Word where she developed a Bachelor of Fine Art program for photography. Previously she was the Visual Arts Director at the Guadalupe Cultural Arts Center.
Related Materials:
Also found at the Archives of American Art is an oral history with Kathy Vargas conducted by Jacinto Quirarte, in San Antonio, Texas on November 7-25, 1997 for the Archives of American Art.
Provenance:
The Kathy Vargas papers were donated in 2016 by Vargas.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival records with audiovisual records with no duplicate copies requires advance notice.
Biographical material includes two appointment books, awards and certificates, education records for the University of Texas in San Antonio, one video recording of an interview, and written interviews. Also included is a draft of a report on the Eleanor Heard survey of Latino art in San Antonio for which Vargas was interviewed. Photographs include Vargas at exhibition and political events, and with friends; photographs of her uncle, who was also a photographer; and one photograph by Christopher Rauschenberg.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival records with audiovisual records with no duplicate copies requires advance notice.
Collection Citation:
Kathy Vargas papers, circa 1965-2016. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival records with audiovisual records with no duplicate copies requires advance notice.
Collection Citation:
Kathy Vargas papers, circa 1965-2016. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival records with audiovisual records with no duplicate copies requires advance notice.
Collection Citation:
Kathy Vargas papers, circa 1965-2016. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival records with audiovisual records with no duplicate copies requires advance notice.
Collection Citation:
Kathy Vargas papers, circa 1965-2016. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival records with audiovisual records with no duplicate copies requires advance notice.
Collection Citation:
Kathy Vargas papers, circa 1965-2016. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival records with audiovisual records with no duplicate copies requires advance notice.
Collection Citation:
Kathy Vargas papers, circa 1965-2016. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
