Quotes and excerpts must be cited as follows: Oral history interview with Jesse Treviño, 2020 July 20. Archives of American Art, Smithsonian Institution.
Recuerdos Orales: Interviews of the Latino Art Community in Texas Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Jesse Treviño, 2004 July 15-16. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- Texas -- San Antonio -- Interviews Search this
Muralists -- Texas -- San Antonio -- Interviews Search this
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
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.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
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
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
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
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
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 to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1993 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Oral History Interviews with Chicano artists in California and San Antonio, Texas Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Frank Romero, 1997 January 17-March 2. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- California -- Los Angeles -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Jacinto Quirarte, 1996 Aug. 15-16. Archives of American Art, Smithsonian Institution.
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
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.
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
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.
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Bertha Louise Hellman Rublee, 1965 May 13. Archives of American Art, Smithsonian Institution.
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.
Sponsor:
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.
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.
Sponsor:
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.
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.
Sponsor:
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.
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.
Sponsor:
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.
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.
Sponsor:
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.
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.
Sponsor:
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.
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.
Sponsor:
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.
