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Self-Portrait, Peterborough 57

Alternate Title:
Xavier Gonzalez Self-Portrait
Artist:
Xavier Gonzalez, 1898 - 1993  Search this
Sitter:
Xavier Gonzalez, 1898 - 1993  Search this
Medium:
Ink, watercolor and gouache on paper
Dimensions:
Sheet: 66.5 x 51.3 cm (26 3/16 x 20 3/16")
Type:
Drawing
Date:
1957
Topic:
Costume\Dress Accessory\Eyeglasses  Search this
Self-portrait  Search this
Xavier Gonzalez: Male  Search this
Xavier Gonzalez: Visual Arts\Artist\Sculptor  Search this
Xavier Gonzalez: Visual Arts\Artist\Painter  Search this
Xavier Gonzalez: Visual Arts\Art Instructor  Search this
Xavier Gonzalez: Visual Arts\Artist\Painter\Muralist  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; the Ruth Bowman and Harry Kahn Twentieth-Century American Self-Portrait Collection
Object number:
S/NPG.2002.372
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4b91c98ad-cf4f-4b74-b7cb-10226739a991
EDAN-URL:
edanmdm:npg_S_NPG.2002.372

Millard Sheets papers

Creator:
Sheets, Millard, 1907-1989  Search this
Names:
Dalzell Hatfield Galleries  Search this
Millard Sheets & Associates Designs  Search this
Sheets, Mary Baskerville  Search this
Extent:
27.6 Linear feet
Type:
Collection descriptions
Archival materials
Slides (photographs)
Photographs
Date:
circa 1907-2000
Summary:
The Millard Sheets papers comprise 27.6 linear feet of material dating from circa 1907 to 2000 with bulk dates spanning 1956 to 1981. The collection documents Sheets's career as a designer, painter, and muralist, and his personal and professional interests through correspondence, writings, lectures, printed material, drawings, slides, photographs, and ephemera. A small addition donated 2018 by Carolyn Owen-Toole, Sheet's daughter. There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others including family; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.
Scope and Content Note:
The personal papers of Millard Sheets (1907-1990) measure 27.6 linear feet and date from circa 1907-2000, with bulk dates of 1956-1981. The collection reflects Sheets's career as a designer, painter, and muralist, as well as his other personal and professional interests, through correspondence, writings, lectures, clippings, blueprints, drawings, slides, photographs, and ephemera.

The Project Files comprise the largest group of materials in the collection and document design work undertaken by Sheets through his company Millard Sheets & Associates Designs. Sheets and his associates produced concept drawings and blueprints and supervised the construction for a wide range of design projects that ranged in scale from architectural plans for private residences to bid proposals for shopping malls and financial institutions located in California and the Southwest.

Sheets designed interior and exterior plans for over forty Home Savings and Loan bank branches in California. The distinctive modular design which Sheets created and then customized by integrating interior and exterior art elements that highlighted local historical events or natural features became synonymous with the image of Home Savings and Loan. Sheets also teamed up with the architect Edward Durrell Stone to produce a proposal for the Capitol Mall Project, an urban renewal project for the Redevelopment Agency of the City of Sacramento. Researchers will find correspondence, job costs and billing statements, and notes that trace the development of these and other building construction projects. In some instances the documents are supplemented by blueprints, photographs, and/or drawings of the project, but in many cases, visual documentation is missing.

The Project Files also document work done by Millard Sheets on public projects such as the Family of Man mural in the Los Angeles City Hall Annex, a mosaic dome in the National Shrine of the Immaculate Conception, Washington, D.C., and the Word of Life mural at the University of Notre Dame, Ind., along with numerous other murals and mosaics created for private individuals and corporations.

The Correspondence Series primarily reflects the interaction between Sheets and his clients, colleagues, and personal acquaintances. These files will prove valuable to researchers who are interested in the way that Sheets's beliefs about the role of art in everyday life impacted the way he conducted business and managed both large and small design projects. The correspondence also reflects Sheets's interest in popular American culture, travel, political issues of the day, and art collecting.

The Membership Files document the wide variety of interests that Sheets maintained through active membership in associations and organizations. The material in this series consists primarily of correspondence, minutes of meetings, and notes which Sheets created or used as he served as a board member or trustee on a number of organizational boards, such as the California Institute of the Arts, the Claremont Colleges, Virginia Steele Scott Foundation, Webb School of California, and Goodwill Industries of Southern California.

Also found in this series is material that documents his interest and participation in various recreational and professional organizations. Sheets maintained a long association with the Economic Roundtable, a group of businessmen who met regularly to give presentations and share discussion on contemporary political and social issues. Sheets was a frequent speaker and his talks given at the Economic Roundtables can be found in Lectures and Speeches, a subseries of the Writings Series.

Included in the Millard Sheets & Associates Designs, Inc. series are records that reflect the day-to-day operations of Sheets's design firm. Found here are chronological copies of correspondence that were sent out, files Sheets maintained on various independent contractors that the design firm frequently used, resumes and letters of recommendation that Sheets received regarding potential employees, as well as records relating to the cost and maintenance of Sheets's office building.

The Teaching and Workshop Files document the instructional activities undertaken by Sheets throughout his career in the arts. Although Sheets became pivotal in establishing a regionally recognized art department at Scripps College in Claremont, California, the files that reflect his academic position there are limited in scope and depth. Researchers will find more substantive the files that he maintained on the numerous art demonstrations and paintings workshops that he conducted privately throughout his career. Sheets traveled extensively around the world through his teaching activities and the files in this series track his path.

Closely related to the Teaching and Workshop Files is the Painting Trips series. The material in these files document Sheets's service as an American Specialist in the Bureau of Educational and Cultural Affairs of the USIS, Department of State. Sheets served two times as a cultural arts representative in Turkey in 1960 and in the former USSR in 1961. Sheets also made numerous trips to South East Asia, which had proved an area of fascination for him since his experiences as a war correspondent in Burma and India in World War II. The files in this series document his painting trips to Tahiti, the Pacific Ocean Rim, and Hawaii. Also found are files that detail his painting activities in Mexico.

The Exhibition Files reflect the records that Sheets maintained regarding his participation in art exhibitions, as well as his files on art shows that he personally directed or organized for public or private groups or organizations. Although Sheets exhibited his work predominantly in the West and Southwest, the files in this series demonstrate that he exhibited both nationally and internationally as well.

Also found within the records for this series are files relating to Sheets's representation of his artwork through established galleries and art agents. The Dalziel Hatfield Galleries of Los Angeles, California, served as his primary agent for most of his painting career. Correspondence between Sheets and the Hatfields provide insight into Sheets's development into a regionally and nationally significant watercolorist and painter. The files relating to the Kennedy Galleries in New York and the Circle Gallery in Chicago reflect Sheets's efforts to maintain a national presence in the arts community.

The Jury Files document Sheets's involvement as a juror in regional, as well, as national shows. The files reveal the great variety of professional watercolor and painting exhibitions in which Sheets participated as either a jury panelist or solo judge.

The Writings Files provide an excellent source for researchers interested in Sheets's philosophical beliefs about the relationship between art and everyday life. His articles, lectures, and speeches predominantly address the role of the artist, the relationships that exist between artists and the community, and the role that art can play in making a fuller, more productive life. Also found in the files of this series are articles written by others about Sheets.

The Biographical Material series provides a short introduction to Millard Sheets. The files consist of the calendars maintained by Sheets and his wife and staff, which were used to coordinate his many commitments and appointments. Also found in the files of this series are family chronologies that were created by Mary Baskerville Sheets. Medical records and resumes provide personal information about Sheets's background and health. A small file of military memorabilia provides information about Sheets's contributions to the war effort in World War II.

The Printed Matter series documents family activities and personalities through publicity clippings. Also found are exhibition catalogs and announcements that Sheets saved regarding other artists. Miscellaneous interests and activities of Sheets are found through magazine articles, brochures, and flyers.

The Photographs series includes photographic documentation for Sheets's artwork, horses, and major projects. A small group of photographs of Sheets are also in this series.

The files in the Artwork series include original drawings by Mary Baskerville Sheets and Millard Sheets.

There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others including family; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.
Arrangement:
The collection is arranged into fifteen series. Small series, such as Biographical Material are generally based on type of document. Larger series, such as Correspondence or Project Files, are arranged alphabetically by name of correspondent or project. General correspondence has been made into its own series, but other series or subseries may also contain some correspondence. Within particular series, materials have been further divided into subseries which represent particular aspects of the project or event. For example, the Writings Series is further divided into subseries of books and articles, eulogies, and lectures and speeches. An outline listing series and subseries titles and dates follows.

Missing Title

Series 1: Biographical Material, 1907-1982, undated (boxes 1-2; 1.25 linear ft.)

Series 2: Correspondence, 1929-1990, undated (boxes 2-4; 2.75 linear ft.)

Series 3: Personal Business Records, 1933-1980, undated (boxes 5-6; 1.25 linear ft.)

Series 4: Membership Files, 1946-1982, undated (boxes 6-8; 2.5 linear ft.)

Series 5: Millard Sheets & Associates Designs, 1934-1982, undated (boxes 8-9; 1.0 linear ft.)

Series 6: Project Files, 1956-1981, undated (boxes 9-18; 8.25 linear ft.)

Series 7: Teaching and Workshop Files, 1932-1982 (box 18; 0.5 linear ft.)

Series 8: Painting Trips, 1959-1980, undated (box 18; 16 folders)

Series 9: Exhibition Files, 1932-1937, 1951-1988, undated (box 19; 0.75 linear ft.)

Series 10: Jury Files, 1941-1982 (boxes 19-20; 42 folders)

Series 11: Writings, 1936-1988, undated (boxes 20-22; 2.5 linear ft.)

Series 12: Printed Matter, 1936-1922, undated (boxes 22-23; 20 folders)

Series 13: Photographs, 1934-1983, undated (box 23; 17 folders)

Series 14: Artwork, circa 1929, undated (box 23; 2 folders)

Series 15: Unprocessed Addition, circa 1930-2000 (boxes 24, 26-30, OV25: 4.6 linear ft.)
Biographical Note:
"Your painting is a measure of your mind"-Millard Sheets

Millard Sheets, as one of the founding members of the "California Scene Painters," exerted a lasting influence upon subsequent generations of Western painters. He and the small group of painters who worked in California during the 1930s and 1940s, developed a new style of watercolor painting that was at the forefront of the American watercolor movement of the time, and that later gave rise to a subsequent generation of painters who became known as the California Regionalist school.

Sheets was born in Pomona, California on June 24, 1907. His mother died in childbirth, and his father, John Sheets, unprepared to raise a baby alone, sent Millard to Pomona, California to be raised by his maternal grandparents, Lewis and Emma Owen. Sheets's grandfather proved to be a guiding force in his life, and when Sheets's father remarried and offered Millard the opportunity to return to the Sheets household, Millard chose instead to remain with his grandparents.

Sheets's love of horses can be directly traced back to his childhood years spent living at his grandfather's horse ranch. Millard rode his first horse when he was three years old. Throughout his life, Sheets returned to the theme of horses in his paintings, as well as maintaining a private stable of horses, and raising and breeding racehorses.

His interest in art also began in childhood. When he was still a young boy, his two maternal aunts encouraged him to play with crayons and pencils. Sheets took his first painting lesson from a neighbor at the age of seven, and by 1919 he had already submitted artwork to the copy division of the Los Angeles County Fair fine arts show competition. He submitted a drawing he had copied of a tinted photograph of Lake KIlarney, California. Sheets won first prize in his division.

It was through this competition that Millard met Theodore B. Modra, a Polish artist who had retired to the Pomona area. After giving Sheets a lecture on the evils of copying art, Modra offered to give him art lessons.

Sheets continued to pursue his interest in art and enrolled in the Choinard School of Art in Los Angeles, California. By the time that he graduated in 1929, Sheets had also managed to come to the attention of Dalzell and Ruth Hatfield of the Dalzell Hatfield Galleries in Los Angeles, California. The Hatfields were one of the most influential art dealers in Southern California, and that same year, they sponsored Sheets in his first one-man exhibition in 1929. The exhibition brought Sheets to the attention of Western Coast art critics and launched Sheets on his painting career.

In 1929 Sheets also learned that he had won second place in the annual Edgar B. Davis art competition held in San Antonio, Texas. The award came with a cash prize and Sheets made plans to travel to Europe to study and paint. Shortly before his departure, however, he met an art student, Mary Baskerville, and they began a whirlwind romance. With Baskerville's enthusiastic support for European plans, and with her promise that she would wait for him, Sheets departed for New York and then Europe.

While overseas during 1929 and 1930, Sheets studied under Dorfinant, a master printer in Paris. Through his work at this studio workshop, he met Henri Matisse.

Five months after Millard returned to the California in 1930, Sheets and Mary Baskerville married. Sheets worked as the director of the Fine Arts Exhibition of the Los Angeles County Fair. In 1932 Sheets returned to school to study art and humanities at Scripps College in Claremont, California. After graduating from Scripps, school officials approached Sheets with an offer to set up a separate fine arts program and asked him to chair the new department. This was the beginning of a twenty year association with the school. In 1938, he also became the Director of Art at Claremont Graduate School.

Sheets left the school during the years of World War II to serve as a war-time artist and journalist for Life magazine, and from 1943-1944 was stationed on the Burma-India Front. His experiences in Asia appeared to affect him deeply. In contrast to his earlier works which featured backgrounds with neutral tones and brilliant shades that highlighted and punctuated the compositions, the paintings from the wartime featured somber tones. Sheets remarked of this time:

During the fighting and the time I spent in the C-B-1 theater, I was too shaken and intellectually stunned to do any complete paintings. I made many, many sketches, though, as well as a real effort to remember each scene that particularly affected me. Then, once I returned to America, I painted frantically, for months, exorcising demons. [Lovoos, Janice and Edmund F. Penney, Millard Sheets: One-Man Renaissance, Northland Press, Flagstaff, AZ, 1984]

Sheets returned from the war in 1944 and resumed his position at Scripps College until 1955 when he was approached by the Los Angeles County Board of Supervisors and asked to overhaul the fledgling Los Angeles County Art Institute. Sheets accepted the position and spent the next five years reshaping the mission and format of the school, renaming it the Otis Art Institute. In the years after Sheets left the directorship, the school eventually became part of the Parson's School of Design on the West Coast.

In 1953 Sheets founded the Millard Sheets Designs company. He hired between twenty-five and thirty artisans for large projects, with Susan Hertel, a former student of his, serving as his assistant in all the operations of the design studio. The working staff included engineers, registered architects, draftsmen, and artists, and the projects that the firm produced included murals, mosaics, stained glass, and sculpture for private homes and public and commercial businesses.

The design studio completed several major architectural projects throughout the late 1950s through the mid 1970s, including the design and construction of Cal Aero, a flight training school for the US Air Force, the National American Insurance Company offices for the California financier, Howard Ahmanson, Ahmanson Bank and Trust Company in Beverly Hills, many Home Savings and Loan Association Buildings, private residences, and the Scottish Rite Memorial Temples in Los Angeles and San Francisco, among many other projects.

Sheets also designed and completed mural and mosiac work for numerous public buildings in the Los Angeles area, as well as across the nation. Many of the murals and mosiacs were for those buildings designed by his firm while others were done as independent commissions.

In 1968 Sheets first proposed the murals he designed for the Los Angeles City Hall. His design was approved and he was awarded a commission to complete The Family of Man murals over the two main entrances to the Los Angeles City Hall. The murals were completed in 1971 and installed in 1972. Sheets also designed mosiacs and murals for the Mayo Clinic in Minnesota, the Library at Notre Dame University, the Scottish Rite Masonic Temple in Los Angeles, several Home Savings and Loan Association buildings in the Los Angeles area, the Detroit Public Library, and the Dome of the National Shrine of the Immaculate Conception in Washington, DC.

During the early 1960s Sheets participated in the American Specialist Program of the US Department of State. His first assignment was to Turkey in 1960, where he served as a visiting artist. The following year he went to the USSR in the same capacity.

During the early to mid 1950s Sheets became involved with Columbia Pictures and was technical advisor and production designer for a few years.

Millard Sheets was a member of the National Watercolor Society, the American Watercolor Society, the National Academy of Design, the Society of Motion Picture Art Directors, and the Century Association. Sheets actively promoted his own work and was a businessman, an active and prolific artist, instructor, and designer. Millard Sheets died on March 31, 1989 in Gualala, California.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels LA 10) including a biographical sketch, career resume, and a list of sheets' work prepared in 1964. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Millard Sheets lent material for microfilming in 1965. Mary B. Sheets, Millard's widow, donated the papers to the Archives of American Art in 1992. Carolyn Owen-Toole, Sheet's daughter, gave a small addition of material in 2018.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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.
Topic:
Art -- Study and teaching  Search this
Art -- California  Search this
Art and society  Search this
Horses -- Breeding  Search this
Watercolorists -- California  Search this
Muralists -- California  Search this
Art -- Philosophy  Search this
Designers -- California  Search this
Genre/Form:
Slides (photographs)
Photographs
Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sheemill
See more items in:
Millard Sheets papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw978141c20-c1e5-41ff-aa5d-6603f62f526f
EDAN-URL:
ead_collection:sova-aaa-sheemill
Online Media:

Oral history interview with Jesse Treviño

Interviewee:
Treviño, Jesse, 1946-  Search this
Interviewer:
Cordova, Cary  Search this
Creator:
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Names:
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Alsup, Katherine  Search this
Clinton, Hillary Rodham  Search this
Consey, Kevin E.  Search this
Cortex, George  Search this
Denman, Gilbert  Search this
Draper, William F., 1912-2003  Search this
Mayan, Earl.  Search this
Reyes, Felipe  Search this
Sosa, Lionel  Search this
Extent:
77 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 July 15-16
Scope and Contents:
An interview of Jesse Treviño conducted 2004 July 15-16, by Cary Cordova, for the Archives of American Art, in San Antonio, Texas.
Treviño discusses his birth in Monterrey, Mexico; moving to San Antonio; being one of 12 children; attending the Art Students League of New York; being drafted into Vietnam; the Mekong Delta; falling into a booby trap and being badly wounded; the long recovery and the subsequent amputation of his right hand; learning to paint with his left hand; his first shows; his "Mi Vida" self-portrait; the numerous poster contests he won as a youth; his art training; the difficulty in organizing Chicano art shows; the relationships with his siblings, particularly his oldest sister, Eva; his Santa Rosa Hospital mural ("Spirit of Healing"); and the importance of public art, particularly murals. Treviño also discusses his Veladora; his early left-handed paintings; the classification of himself as a "Realist"; how he chooses the sites he paints; helping form the Alameda/Smithsonian art center; being invited to talk at veteran's groups and high schools; his early paintings on black canvas; his new public art project on San Antonio's notorious Guadalupe Street; his Wells Fargo Bank mural and its formation; his interest, or lack thereof, in photography; his portraits of Henry B. Gonzales and his mother; his painting, "Mis Hermanos;" his successful one man show at the San Antonio Museum of Art; his relationships with galleries; the rejuvenating qualities of art in poor neighborhoods; his trip to Chile with Hillary Clinton, as part of her First Lady's Convention; being honored at the White House; and how he wants his art to unite people. Treviño also recalls William Draper, Felipe Reyes, Katherine Alsup, Earl Mayan, George Cortex, Gilbert Denman, Kevin Consey, Lionel Sosa, and others.
Biographical / Historical:
Jesse Treviño (1946- ) is a painter from San Antonio, Texas. Cary Cordova (1970- ) is an art historian from Austin, Texas.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 5 hr., 11 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
Muralists -- Texas -- San Antonio -- Interviews  Search this
Vietnam War, 1961-1975  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.trevin04
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c1370b4e-673b-4907-bb69-07ed2999e7bd
EDAN-URL:
ead_collection:sova-aaa-trevin04
Online Media:

Con Safo Group, San Antonio, Texas, Organization (see also: Casas, Mel; Martinez, Santos; Reyes, Felipe)

Collection Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Container:
Box 8, Folder 33
Type:
Archival materials
Date:
1971-2000, undated
Scope and Contents note:
(letter to Dr. Guy Bensusan, Associate Professor, University of Arizona, 07/22/1972; Con Safo organizational information: list of needs, meeting notes, mission statement - Brown Paper Report; "General Comments" [by Felipe Reyes?]; clippings; exhibition announcements; catalogs; photographs of Con Safo members; material for TYF's course on Chicano Culture)
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.
See more items in:
Tomás Ybarra-Frausto research material
Tomás Ybarra-Frausto research material / Series 1: Subject Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94a9f4892-fea3-4b62-8121-7c311caea4da
EDAN-URL:
ead_component:sova-aaa-ybartoma-ref550
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U.S.-Mexico Borderlands

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
Based on research in the rich and dynamic living culture of the border, the Borderlands Festival program of 1993 was designed to provide a glimpse of the border - its histories, its diverse communities, local and regional identities, and its music, arts, crafts, healing practices, foodways, and narrative. The program was about community-based culture. It presented cultural practices found on the border and cultural expressions about the border, and it explored cultural patterns that were created by the border. It also addressed the cultural heritage, adaptability, and creativity of Native Americans and of the Mexican, Hispanic American, Anglo, and other immigrant communities that have played a part in creating the life that surrounds the Mexico-U.S. border - those who maintain it, those who cross it, those who are left behind, and those who dwell in the border region. The program explored the processes through which such groups create, adapt, and preserve culture to meet the challenges of life on the border. It sought to present and understand community codes of behavior that evolved on the border including confrontation, evasion, violence, and romance, especially as these have been transformed into narrative and other forms of artistic expression.

Music performances at the Festival included emergent forms such as the conjunto, which grew out of the interaction between different cultural communities; older forms, such as the corrido, which has been used to preserve a historical vision in the defense of disputed territory; and adapted forms such as the string band music now incorporated into the traditional repertoire of the Tohono O'odham Native American communities. Also featured in the program were five muralists, whose work reflects the traditions of Mexican cholo and United States Chicano muralism. Murals continue to be touchstones of common historical experiences, archaeologies of sociocultural movements, and powerful statements of identity, ethical principles, and community aspirations. The unique fusion of border aesthetics and handcrafted technology was embodied for Festival visitors in lowriders - distinctively customized automobiles. These lowslung, hopping cars complemented the iconography of murals as statements of cultural identity.

Vaqueros of south Texas demonstrated their skills, crafts, and foodways associated with their cowboy tradition, which dates back to the Spanish colonial era. A fisherman from the port of Brownsville demonstrated shrimping techniques. A Laredo blacksmith forged stirrups, belt buckles, and other implements of vaquero life, along with a number of traditional and contemporary decorative objects. A ropemaker demonstrated the use of the local fiber called lechuguilla (a fibrous plant of the agave family). While fine craft traditions like guitar- and furniture-making are not specific to the border, craftspeople have incorporated motifs and instruments native to the region, like the bajo sexto guitar. Other occupational groups characteristic of the border environment included federal Immigration and Naturalization Service (INS) agents who regulate movement across the border; coyotes and polleros, who help migrants evade immigration regulations; and workers in maquiladora assembly line industried. Narrative sessions focused on the culture of craft and occupation in the context of the border.

Artisans also demonstrated crafts used in the home and for special celebrations, including quilt-making, flower- and piñata-making, candlemaking, and reverse-painted glass. Participants prepared regional specialties, traditional foods served for fiestas, and offered a sampling of typical vaquero outdoor cooking. Finally, the Festival presented members of the Mixteco Indian community in Tijuana, a recent migrant group, which preserves its cultural identity and contributes to the economy at the border by maintaining ties with other Mixteco communities in Oaxaca and California.

The United States-Mexico border has had a profound effect on the lives of millions of people. The then-pending NAFTA free trade agreement was only the latest in a long line of international socioeconomic arrangements with wide ranging local impacts. Critical attention in Mexico and the U.S. had increasingly focused on the historical consciousness created in this borderland and on its expression in traditional and other forms of art. Recognition of the vitality and value of borderland culture was growing in 1993 at the margins, among borderland populations, as well as in the centers of power and opinion in both countries. Scholars and political leaders increasingly realized that the cultural encounters, syntheses, and resistances characteristic of border life signaled similar cultural developments in the larger societies. This intensifying concern and scrutiny centered on the margin, but could it reduce the marginality in human rights, social dignity, and economic opportunity at the border? Festival organizers hoped that listening to community voices of the border from the Mexican and United States sides could better inform our thinking and decision-making.

Olivia Cadaval served as Program Curator, with Peter Seitel as Research Advisor; Héctor Antonío Corporán was Program Coordinator and Betty Belanus was Presentation Coordinator.

Collaborating institutions included Centro de Información de Historia Regional, Universid Autónoma de Nuevo León; Consejo Nacional para las Culturas y las Artes – El Programa Cultural de las Fronteras; El Colegio de la Frontera Norte (COLEF); El Paso-Hispanic Chamber of Commerce; Embajada de México en Washington, D.C.; John E. Conner Museum, Texas A & I University; Institute of Texan Cultures; Instituto Cultural de México; Instituto de Bellaas Artes del Estado de Baja California; Instituto Nacional Indigenista; Instituto Mexicano de Cultura, San Antonio; Laredo State University; Mexican Cultural Institute; Museo Regional de la Universidad Autónoma de Baja California en Mexicali; National Museum of the American Indian; New Mexico State University, Las Cruces, New Mexico; Pimería Alta Historical Society, Arizona; Texas A & I University; Texas Folklife Resources; Tumacácori National Historical Park, Arizona; University of Arizona Library's Southwest Folklore Center; University of Arizona – Bureau of Applied Research in Anthropology; University of New Mexico, Albuquerque; University of Texas – Brownsville; University of Texas, Center for Mexican-American Studies; University of Texas – Pan American; and U.S. Immigration and Naturalization Service.

United States-Mexico Borderlands was made possible with the support and collaboration of the Consejo Nacional para la Cultura y las Artes - El Programa Cultural de las Fronteras, El Colegio de la Frontera Norte, Texas Commission on the Arts, Cerveza Tecate - Imported Beer, Texas Folklife Resources, University of Arizona Library's Western Folklore Center, Tumacácori National Historical Park, Universidad Autónoma de Nuevo Léon - Centro de Información de Historia Regional, Universidad Autónoma de Baja California, Gubierno de Nuevo Léon, Mexican Cultural Institute, and the recording industries Music Performance Trust Funds.
Fieldworkers:
María Eugenia de la O, Enrique Madrid, Angel Norzagaray Norzagaray, Manuel Peña, Kathy Raglan, Michael James Ritchie, Suzie Reyes, Irene Vásquez Valle, Kathy Vargas, Felipe de Jesús Valenzuela
Presenters and fieldworkers:
Enrique Avilés, Norma Cantú, Jessica Chapin, Andrew Connors, Maricela González Felix, Mary Lou Gortárez, Everardo Garduño, James S. Griffith, Celso Garza Guajardo, Ian F. Hancock, Pat Jasper, Enrique Lamadrid, Laura Larco, Francisco Javier Moreno, Daniel Sheehy, Emily Socolov, Michael C. Stone; José Manuel Valenzuela Arce, Meynardo Vásquez, Laura Velasco Ortíz, Thomas Vennum, Jr., Cynthia Vidaurri
Participants:
Tijuana, Baja California

Olga Lidia Cortés, Mixteca, hat and basket maker, Tijuana, Baja California, Mexico

Guadalupe Isabel Flores de Estrada, 1939-, Mixteca, altar maker, cook, Tijuana, Baja California, Mexico

Juvencio Extrada Maceda, 1936-, Mixteco, storyteller, oral historian, candlemaker, Tijuana, Baja California, Mexico

Gloria López López, Mixteca, vendor, altar maker, cook, Tijuana, Baja California, Mexico

Elia Ilda Maceda Flores, 1971-, Mixteca, altar maker, cook, Tijuana, Baja California, Mexico

Ofelia Santos López, Mixteca, vendor, oral historian, hat and basket maker, altar maker, cook, weaver, Tijuana, Baja California, Mexico

Francisco Paulino Sierra Cruz, 1955-, Mixteca, schoolteacher, Tijuana, Baja California, Mexico

Cathedral City, California

Carmen Moreno, guitarist, singer, Cathedral City, California

Santa Catarina, Baja California

Benito Peralta González, Paipai, storyteller, oral historian, Santa Catarina, Baja California, Mexico

Tecate, Baja California

José Luis Lee Sandoval, furniture maker, Tecate, Baja California, Mexico

Mexicali, Baja California

Taller Universitario de Teatro -- Taller Universitario de TeatroAngel Norzagaray Norzagaray, 1961-, Mexicali, Baja California, MexicoHeriberto B. Norzagaray Norzagaray, 1959-, Mexicali, Baja California, MexicoLoreto Ramón Tamayo Rosas, Mexicali, Baja California, MexicoAlejandra Rioseco de la Pena, Mexicali, Baja California, MexicoAndrés García Moreno, Mexicali, Baja California, MexicoPedro Gabriel González Castro, Mexicali, Baja California, Mexico

San Simon Village, Arizona

Tohono O'odham String Band -- Tohono O'odham String BandBlaine W. Juan, 1936-, violin, dancer, San Simon Village, ArizonaJoseph Alonzo García, 1924-, violin, dancer, San Simon Village, ArizonaFrank N. Pedro, 1928-, guitar, San Simon Village, ArizonaVictor Augustine García, 1922-, violin, San Simon Village, ArizonaNacho J. Feleys, 1909-1994, snare drum, San Simon Village, ArizonaMike L. Francisco, 1926-, bass drum, dancer, San Simon Village, Arizona

Lupe Lopez, 1927-, Tohono O'odham basket maker, San Simon Village, Arizona

Marie Leon, 1930-, Tohono O'odham basket maker, San Simon Village, Arizona

Nogales, Sonora

Maria Gloria Moroyoqui de Roques, 1930-, Yaqui cook, piñata and flower maker, herbalist, Nogales, Sonora, Mexico

Imuris, Sonora

Anastasio Léon, birdcage and frame maker, Imuris, Sonora, Mexico

Francisco Silva, birdcage and frame maker, Imuris, Sonora, Mexico

Magdalena, Sonora

Felipe de Jesús Valenzuela, regional historian, Magdalena, Sonora, Mexico

Tumacácori, Arizona

María Rodríguez, 1912-2001, tortilla maker, flower maker, cook, Tumacácori, Arizona

Tucson, Arizona

Reynaldo B. Hernandez, INS border patrol, storyteller, Tucson, Arizona

Arturo Carrillo Strong, 1930-, author, oral historian, Tucson, Arizona

Los Hermanos Cuatro, Yaqui Norteño Band -- Los Hermanos Cuatro, Yaqui Norteño BandJesús Juan Yucupicio, 1965-, electric bass, Tucson, ArizonaAlbert M. Yucupicio, 1954-, accordion, Tucson, ArizonaAngel M. Yucupicio, 1966-, drums, Tucson, ArizonaPeter S. Yucupicio, 1957-, bajo sexto, Tucson, Arizona

Ciudad Juárez, Chihuahua

Brigada por La Paz -- Brigada por La PazAlonso Encina Herrera, 1968-, muralist, Ciudad Juárez, Chihuahua, MexicoJesús Alberto "Pee Wee" Rodriguez Medina, muralist, Ciudad Juárez, Chihuahua, MexicoGustavo "Sleepy" Grado Tiscareño, 1973-, muralist, Ciudad Juárez, Chihuahua, MexicoMiguel Angel "El Tandy" Sandoval Lira, 1971-, muralist, Ciudad Juárez, Chihuahua, Mexico

Oscar Ramírez, 1944-, guitar maker, Ciudad Juárez, Chihuahua, Mexico

Los Alegres del Norte, norteño band -- Los Alegres del Norte, norteño bandJosé Flores Cordova, accordion, Ciudad Juárez, Chihuahua, MexicoDiego Hidalgo Alvarez, 1944-, bajo sexto, Ciudad Juárez, Chihuahua, MexicoEmilio Chaírez Muñoz, tololoche, Ciudad Juárez, Chihuahua, Mexico

El Paso, Texas

Agustín Castillo, 1950-, woodcarver, furniture maker, El Paso, Texas

Carlos Callejo, Chicano muralist, El Paso, Texas

Romulo Frías, lowrider, El Paso, Texas

El Divisidero, Chihuahua

Guadalupe Carrasco Leyva, 1923-, quilter, cook, El Divisidero, Chihuahua, Mexico

Paso de Lajitas, Chihuahua

Baltazar Rodríguez Puentes, 1942-, ranching crafts, Paso de Lajitas, Chihuahua, Mexico

Lajitas, Texas

Adolfo O. Rodríguez, 1971-, ranching crafts, Lajitas, Texas

Presidio, Texas

Richard Mark Bernholz, 1954-, INS border patrol, storyteller, Presidio, Texas

Nacimiento, Chihuahua

Gertrude Factor Vásquez, 1921-, oral historian, cook, herbalist, Nacimiento, Chihuahua, Mexico

Alice Fay Lozano, 1916-, oral historian, cook, herbalist, Nacimiento, Chihuahua, Mexico

Del Rio, Texas

Ethel I. Warrior, 1919-, oral historian, cook, Del Rio, Texas

William F. Warrior, 1927-, oral historian, storyteller, Del Rio, Texas

Laredo, Texas

Armando Flores, 1953-, blacksmith, Laredo, Texas

María Paredes de Solís, 1923-, quilter, Laredo, Texas

Monterrey, Mexico

El Palomo y el Gorrión, Norteño Band -- El Palomo y el Gorrión, Norteño BandMiguel "El Gorrión" Luna Franco, 1948-, drums, composer, vocals, Monterrey, MexicoMoisés García, guitar, Monterrey, Mexico

Hebbronville, Texas

Omar Galván, 1920-1999, vaquero, rope maker, cook, storyteller, Hebbronville, Texas

Kingsville, Texas

Joe O. Mendietta, 1961-, vaquero, horsehair braider, Kingsville, Texas

San Diego, Texas

Canuto Soliz, 1924-2006, vaquero, leatherworker, storyteller, guitarist, San Diego, Texas

Elsa, Texas

Los Hermanos Layton, Conjunto Band -- Los Hermanos Layton, Conjunto BandAntonio V. Layton, 1946-, guitar, vocals, Elsa, TexasRené Layton, drums, Elsa, TexasNorfilia Layton González, vocals, Elsa, TexasGilbert González, bass guitar, Elsa, TexasBenigno Layton, 1950-, accordion, vocals, Elsa, Texas

Brownsville, Texas

Julius Collins, 1928-, shrimper, net maker, cook, Brownsville, Texas
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1993 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1993, Series 5
See more items in:
Smithsonian Folklife Festival records: 1993 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk53366ad74-9495-4412-9336-ea97e6c0f67a
EDAN-URL:
ead_component:sova-cfch-sff-1993-ref41

Bertha Hellman newspaper clippings

Creator:
Hellman, Lillian, 1905-1984  Search this
Names:
Public Works of Art Project  Search this
United States. Department of the Treasury  Search this
Extent:
3 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1934
Scope and Contents:
Clippings regarding Hellman's Public Works of Art Project mural for the Houston, Texas post office, 1934.
Biographical / Historical:
Muralist, painter; San Antonio, Tex. Also known as Bertha Louise Hellman Rublee. Worked on the Public Works of Art Project of the U.S. Treasury Department.
Provenance:
Lent for microfilming 1965 by Bertha L. Hellman.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Texas -- San Antonio  Search this
Muralists -- Texas -- San Antonio  Search this
Topic:
Federal aid to the arts  Search this
Federal aid to the public welfare  Search this
Mural painting and decoration  Search this
Art and state  Search this
Women artists  Search this
Women painters  Search this
Women muralists  Search this
Identifier:
AAA.hellbert
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95d306f71-afcf-4060-9296-311bcc4d6452
EDAN-URL:
ead_collection:sova-aaa-hellbert

General Correspondence

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 1, Folder 7
Type:
Archival materials
Date:
1988
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96f33bf53-c00c-4d14-83db-48a66e1c8534
EDAN-URL:
ead_component:sova-aaa-casamel-ref11
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Con Safo Announcements and Catalogs

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 2, Folder 3
Type:
Archival materials
Date:
1972-1977
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bb888cb0-4b58-4d2a-a052-d59b04b5bbd9
EDAN-URL:
ead_component:sova-aaa-casamel-ref20
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Exhibition Announcements and Catalogs

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box OV 3, Folder 4
Type:
Archival materials
Date:
1979
1993
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b4370ed3-e374-4b48-9d44-21ddb42524fa
EDAN-URL:
ead_component:sova-aaa-casamel-ref28
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Clippings

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 1, Folder 20
Type:
Archival materials
Date:
1967-1971
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97ef99739-acb1-47c4-9b78-9e251e28ba0c
EDAN-URL:
ead_component:sova-aaa-casamel-ref36
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Clippings

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 2, Folder 2
Type:
Archival materials
Date:
1990-1996
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d13a5e6b-3421-439c-b57f-3da7d4dc0707
EDAN-URL:
ead_component:sova-aaa-casamel-ref41
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Clippings

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box OV 3, Folder 3
Type:
Archival materials
Date:
1987-1998
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9892210c7-a4e0-414f-91e1-630abb620a0b
EDAN-URL:
ead_component:sova-aaa-casamel-ref43
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Exhibition Announcements and Catalogs

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 2, Folder 9
Type:
Archival materials
Date:
1982-1986
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9553299da-26a5-4b07-bec0-bb5f29428103
EDAN-URL:
ead_component:sova-aaa-casamel-ref46
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Exhibition Announcements and Catalogs

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 2, Folder 11
Type:
Archival materials
Date:
1990-1995
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw902615a2c-67c5-46ad-882a-26e6144f6583
EDAN-URL:
ead_component:sova-aaa-casamel-ref48
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  • View Exhibition Announcements and Catalogs digital asset number 1

Oral history interview with Frank Romero

Interviewee:
Romero, Frank  Search this
Interviewer:
Rangel, Jeffrey J.  Search this
Names:
Los Four (Art group)  Search this
Oral History Interviews with Chicano artists in California and San Antonio, Texas  Search this
Otis Art Institute -- Students  Search this
Almaraz, Carlos  Search this
Mugnaini, Joseph A.  Search this
Rocha, Roberto de la  Search this
Sanchez Luján, Gilbert  Search this
Sheets, Millard, 1907-1989  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
99 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1997 January 17-March 2
Scope and Contents:
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.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 27 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.
Occupation:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
Painters -- California -- Los Angeles -- Interviews  Search this
Mexican American artists  Search this
Latino and Latin American artists  Search this
Mexican American art  Search this
Street art  Search this
Mural painting and decoration -- 20th century -- California -- Los Angeles  Search this
Chicano art movement  Search this
Chicano artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.romero97
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bc1ddc95-30e4-44a7-936f-fd8e1c2eb6a0
EDAN-URL:
ead_collection:sova-aaa-romero97
Online Media:

Oral history interview with Jacinto Quirarte

Interviewee:
Quirarte, Jacinto, 1931-2012  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
San Francisco State University -- Students  Search this
Extent:
97 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1996 Aug. 15-16
Scope and Contents:
An interview of Jacinto Quirarte conducted 1996 Aug. 15-16, by Paul Karlstrom, for the Archives of American Art.
Quirarte discusses his professional and personal experience both as a Mexican-American growing up in the Southwest and in California, and as an art historian who was among the first to identify and study the Chicano art movement. He describes his family background, his attraction to figurative art as a student at San Francisco State University, his interest in Mexican muralists, and his fascination with pre-Columbian art which became his speciality. He further discusses his career in Latin America, particularly from the standpoint of multiculturalism and regionalism in his native country; the problem of overlapping political/cultural entities and the connection between pre-Columbian and Chicano situation; the notions of group identity, and shift from universalism to individual identity as part of the Chicano art evolution.
Biographical / Historical:
Jacinto Quirarte (1931-2012) is an art historian at the University of Texas, San Antonio. Quirarte is the author of several books on Latin American art, among them "Mexican American Artists" (1973), "Izapan-Style Art" (1973), and "Latin American Spirit: Art and Artists in the United States, 1920-1970" (1988).
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 5 hr., 7 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.
Occupation:
Art historians -- Texas -- San Antonio -- Interviews  Search this
Topic:
Indian art -- Central America  Search this
Latino and Latin American artists  Search this
Mexican American art  Search this
Mexican American artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.quirar96
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bb860c3e-1ffc-4003-a3e7-f78db200440b
EDAN-URL:
ead_collection:sova-aaa-quirar96
Online Media:

Oral history interview with Jesse Treviño

Interviewee:
Treviño, Jesse, 1946-  Search this
Interviewer:
Gillespie, Benjamin, 1988-  Search this
Names:
Pandemic Oral History Project  Search this
Extent:
1 Item ((31 min.), digital, mp4)
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Date:
2020 July 20
Scope and Contents:
An interview with Jesse Treviño conducted 2020 July 20, by Benjamin Gillespie, for the Archives of American Art's Pandemic Oral History Project at Treviño's home in San Antonio, Texas.
Biographical / Historical:
Jesse Treviño (1946- ) is a muralist, painter, and sculptor in San Antonio, Texas.
Related Materials:
The Archives of American Art also holds an interview with Jesse Treviño conducted 2004 July 15-16, by Cary Cordova.
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.
Occupation:
Muralists -- Texas -- San Antonio  Search this
Painters -- Texas -- San Antonio  Search this
Sculptors -- Texas -- San Antonio  Search this
Topic:
Latino and Latin American artists  Search this
Pandemics  Search this
COVID-19 (Disease)  Search this
Genre/Form:
Interviews
Video recordings
Identifier:
AAA.trevin20
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9836e82cd-e24a-4dc5-9917-3ca8cbcba9cc
EDAN-URL:
ead_collection:sova-aaa-trevin20
Online Media:

Oral history interview with Bertha Louise Hellman

Interviewee:
Hellman, Lillian, 1905-1984  Search this
Interviewer:
Loomis, Sylvia Glidden  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
1 Sound tape reel (Sound recording, 7 in.)
14 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1965 May 13
Scope and Contents:
An interview of Bertha Louise Hellman conducted 1965 May 13, by Sylvia Loomis, for the Archives of American Art New Deal and the Arts Project.
Biographical / Historical:
Bertha Louise Hellman (1905-1984) was a muralist and painter in San Antonio, Tex. Also known as Bertha Louise Rublee. She worked on the Public Works of Art Project of the U.S. Treasury Department.
General:
An interview of Atlee B. Ayres conducted by Sylvia Loomis is also on this tape.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Occupation:
Muralists -- Texas -- Houston  Search this
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- Texas -- Houston  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hellma65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ec656434-52ab-4e2b-a39f-be75f8b3a88b
EDAN-URL:
ead_collection:sova-aaa-hellma65
Online Media:

Oral history interview with Bertha Louise Hellman, 1965 May 13

Interviewee:
Hellman, Lillian Florence, 1906-1984  Search this
Hellman, Lillian Florence, 1906-1984  Search this
Interviewer:
Loomis, Sylvia Glidden  Search this
Subject:
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- Texas -- Houston  Search this
Women artists  Search this
Women painters  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12976
(DSI-AAA_SIRISBib)213782
AAA_collcode_hellma65
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213782

Oral history interview with Frank Romero, 1997 January 17-March 2

Interviewee:
Romero, Frank, 1941-  Search this
Romero, Frank, 1941-  Search this
Interviewer:
Rangel, Jeffrey J.  Search this
Subject:
Almaraz, Carlos  Search this
Mugnaini, Joseph A.  Search this
Rocha, Roberto de la  Search this
Sanchez Luján, Gilbert  Search this
Sheets, Millard  Search this
Voulkos, Peter  Search this
Four (Art group)  Search this
Otis Art Institute  Search this
Oral History Interviews with Chicano artists in California and San Antonio, Texas  Search this
Type:
Sound recordings
Interviews
Topic:
Painters -- California -- Los Angeles -- Interviews  Search this
Mexican American artists  Search this
Latino and Latin American artists  Search this
Mexican American art  Search this
Street art  Search this
Mural painting and decoration -- 20th century -- California -- Los Angeles  Search this
Chicano art movement  Search this
Chicano artists  Search this
Theme:
Latino and Latin American  Search this
Record number:
(DSI-AAA_CollID)13587
(DSI-AAA_SIRISBib)216102
AAA_collcode_romero97
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216102
Online Media:

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