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Purpose: Given the historical exclusion of U.S. Latinx visual art in major museums and collections, artists, scholars, curators, and patrons have taken grassroots measures to preserve the cultural contributions of Latinx artists by forming community art organizations, research centers, artist collectives, websites, and databases. However, to date, there does not exist a comprehensive list of where these entities exist, how they were formed, and who they serve. What are the organizations that actively support Latinx visual artists via funding, advocacy, and/or archival means on local, regional, and national levels? Furthermore, where is Latinx visual art supported online, in what ways, and by whom? In 2019, the Center for Comparative Studies in Race & Ethnicity (CCSRE) at Stanford University awarded two un- dergraduate students, Shannen Orquidia Torres and Miguel Samano, summer fellowships to research these questions with USLAF. Under Dr. Rose Salseda’s advisement (USLAF Associate Director; Assistant Professor, Art & Art His- tory, Stanford University), the two students developed the “List of Advocates for Latinx Art,” a resource provided by USLAF for scholars, researchers, and other parties interested in the long and ongoing legacy to support Latinx visual art in the United States. Please cite this resource as: Orquidia Torres, Shannen, Miguel Samano, Rose Salseda, et al, “USLAF List of Advocates for Latinx Art,” in U.S. Latinx Art Forum, Feb. 11, 2020, Your Date of Access, www.uslaf.org/s/USLAF_List-of-Advo- cates-for-Latinx-Art2020.pdf To suggest entries or corrections to this list, please email [email protected] USLAF-CCSRE 2019 Summer Research Fellow Bios: Shannen Orquidia Torres is a proud Dominican from New York. Their lived expe- rience informs their research on Black and Brown struggles in urban communities and how artwork, like graffiti, reflects this history. Moreover, they are interested in how artists’ work within urban communities leads to personal and collective radical- ization. Orquidia Torres is currently working on their B.A. at Stanford University in Comparative Studies in Race and Ethnicity (CSRE) with a concentration in Identity, Diversity and Aesthetics. In 2018-19, they were a fellow for the Institute for Diver- sity in the Arts (IDA) and, in 2019, a fellow of CSRE’s Community Based Research Program. Miguel Samano earned a B.A. from Stanford University in Comparative Literature and Chicana/o-Latina/o Studies in 2019. He researches the social aesthetics of race and ethnicity and the historiography of Chicana/o/x and Latina/o/x art. His senior honors thesis centered the role of affect in identity formation through close readings of murals and exhibition ephemera. In 2019, Samano received the Arturo Islas Jr. Prize and Renato Rosaldo Jr. Award, both for academic achievement and commitment to Chicana/o/x Studies, and he was a 2018-19 Hume Undergraduate Fellow at the Stan- ford Humanities Center. He presented his research on murals as performance ephem- era at the 2019 Latino Art Now! Conference in Houston, Texas. List of Advocates for Latinx Art ARCHIVAL ORG/COLLECTIVE/RESEARCH CENTER FOUNDER(S) YEARS of ACTIVITY LOCATION CURRENT CONTACT WEBSITE NOTES COLLECTIONS Activa Unlimited San Francisco, CA Acuna Art Gallery/Café on A Armando Vazquez, Debbie DeVries 1998-2017 Oxnard, CA http://www.aldocastillogallery. Aldo Castillo Gallery Aldo Castillo 1993 to present Estero, FL [email protected] Originally located in Chicago. com/ Arceo Press and Studio Réne Arceo 2004 to present Chicago, IL René Arceo, Founder: [email protected] http://www.arceoart.us/ Armonia Popular New York, NY Exhibitions, national and international artist residency program, in-school art training, public programs, membership events. No Latino artists in gallery files until 1987. Published catalogues and brochures documenting work of Latino artists. Exhibition files include information on Latino Art in General Martin Weinstein and Teresa Liszka 1981 to present New York, NY On-site [email protected] artingeneral.org artists and scholars. Archival holdings on Latino art also include records of exhibitions organized as part of Artists in Residency program. Found on the MOMA’s Survey of Archives of Latino and Latin American Art (see Sheet 2). Ruben Quesada, Executive Director: rquesada@ Arte Américas 1987 to present Fresno, CA https://www.arteamericas.org/ arteamericas.org Arte Buena Vista f. 1970s Lansing, MI Arte Hispano Tucson, AZ Arte Nuevocano José Narezo f. mid-1970s Grand Rapids, MI Ana Luisa Cardona, Lorenzo Lopez, Artes Unidas Theresa Melendez, Nora Chapa Mendoza, 2001 to late 2010s Lansing, MI Mark Sullivan, Irene Vasquez Joe Bravo, Sergio Hernandez, Agustin Bravo, Lalo Garcia, Frank Martinez, Artino Arts Group f.2001 San Fernando, CA Ricardo Ortega, Felix Perez, Diane Correa de Rempel Artistas Aztlán Juan Zaragoza f.1979 San Bernadino, CA Artistas Latinos de Orange County Emigdio Chavez Vazquez 1979-early 1980s Orange County, CA Formed to provide opportunities to exhibit in organized shows ArTrujillo Multicultural Art Studio and Gallery Alejandro Trujillo 1999-late 2000s Minneapolis, MN Alejandro Trujillo Corona, Owner Harry Gamboa, Jr., Patssi Valdez, Gronk, ASCO 1972-1987 Los Angeles, CA Willie Herrón Association of Hispanic Arts Inc. 1975-2000s New York, NY Association of the Latin Brotherhood of Artists (ALBA) early 1970s (f. 1973) Chicago, IL Art exhibitions, art workshops, lectures, poetry and readings, annual Dia de Avenue 50 Studio Kathy Gallegos 2000-present Los Angeles, CA los Muertos event, galleries, community art space, Aztlan Cultural Arts Foundation Leo Limón, Armando Martinez 1993-2000 Los Angeles, CA José Montoya, Esteban Villa, Eduardo University of California, students and community members art program led by Ricardo Favela, then Barrio Art Program early 1970s-2007 Sacramento, CA Carrillo Santa Barbara an instructor at CSU Sacramento Jeffrey Moore, Richard Thompson, Kent Mary Heathcott, Executive Director: bsc@ Blue Star Art Space Rush, Richard Mogas, Adair Sutherland, 1986 to present San Antonio, TX https://bluestarcontemporary.org/ bluestarcontemporary.org Lewis Tarver David Avalos, Guillermo Gómez-Peña, Jude Eberhard, Michael Schnorr, Víctor Ochoa, Border Arts Workshop/Taller de Arte Fronterizo (BAW/TAF) 1984-early 1990s San Diego, CA Sara-Jo Berman, Philip Brookman, Isaac Artenstein Bronx Women’s Photo Collective Lizzie Alejandro, Rhynna M. Santos mid-2010s to present New York, NY [email protected] https://www.bwpc.info/about Café Mestizo Marcela Gallo, Leo Barragan 2003-early 2010s Chicago, IL University of California, https://www.library.ucsb.edu/ California Ethnic and Multicultural Archives (CEMA) Salvador Güerena, CEMA Director: [email protected] Santa Barbara special-collections/cema Caribbean Cultural Center African Diaspora Institute 1976 to present New York, NY (CCCADI) Deleage Gallery, a part of Casa 0101, presents up to 7 exhibits per year, Emmanuel Deleage, Executive Director; emmanuel@ primarily consisting of local artists, and corresponding to the themes of Casa 0101 Theater Josefina Lopez 2000-present Los Angeles, CA casa101.org ; Jimmy Centeno, Art Gallery Curator; casa0101.org Casa 0101’s main stage productions. Arts education is also offerred to the [email protected] community. Community center that hosted Brown Berests meetings, arts and crafts, photography, folklorico, and other activities for members of the Pilsen community. Ray Patlan painted a mural with students on the building’s Casa Aztlan 1970 to present Chicago, IL http://www.casaaztlan.org/ exterior. Previously, known as the Howell House, part of the Neighborhood Service Organization. Archives for the Neighborhood Service Organization can be found at the University of Illinois, Chicago. Workshops in literary, visual, and performing arts, exhibition space for local artists in gallery, compiled Michigan Hispanic Arts Directory in Casa de Unidad Cultural Arts and Media Center 1981-mid-2000s Detroit, MI University of Michigan 1988, annual two-day performing arts festival, 1987 documentation project resulted in publication, Tradiciones del Pueblo: Traditions of Three Mexican Feast Days in Southwest Detroit (1990). Former Resident Fellows (RF) Tony Burciaga led students in painting Gina Hernandez-Clarke, Director of Arts in Undergraduate murals in Zapata and adjacent building, Stern Dining Hall. Casa Zapata Casa Zapata, Stanford University 1972 to present Stanford, CA Stanford University Education, heading Casa Zapata Mural History Project: Mural Archive has been established. Previously, Zapata hosted an Artist- [email protected] in-Residence program. Project to archive Zapata’s murals and thier history has begun. Cayman Gallery 1974-1984 New York, NY http://centerforcubanstudies.org/ Center for Cuban Studies/Cuban Art Space 1972 to present New York, NY cuban-art-space/ Smithsonian Archives of Formerly the Frances Wolfson Art Gallery. The Wolfson’s archival records Centre Gallery, Wolfson Campus, Miami-Dade College 1976 to present Miami, FL American Art from 1973-1994 are at the AAA. Centro Cultural Aztlán 1977 to present San Antonio, TX http://www.centroaztlan.org/ Centro Cultural de la Gente 1970s San Jose, CA Alurista, Los Toltecas en Aztlán (Guillermo Gallery; Classes and Workshops; Community Events; “La Dualidad” by Aranda, Salvador Torres, Guillermo Aranda, Balboa Park, San University of California, Tommy Valentino Ramirez, Board President; aac@ccdlr@ Guillermo Aranda; Exhibition Space; Portion of Permanent
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  • The Oceania Cruises Art Collection

    The Oceania Cruises Art Collection

    THE OCEANIA CRUISES ART CoLLECTION THE OCEANIA CRUISES ART CoLLECTION “I had the same vision and emotional connection in our art acquisitions as I did for Marina and Riviera themselves ­­– to be beautiful, elegant, sophisticated and stylish. The ships and art are one.” – Frank Del Rio 2 | OCEANIA CRUISES ART COLLECTION Introduction In February of 2011, Oceania Cruises unveiled the cruise ship Marina at a gala ceremony in Miami. The elegant new ship represented a long list of firsts: the first ship that the line had built completely from scratch, the first cruise ship suites furnished entirely with the Ralph Lauren Home Collection, and the first custom-designed culinary studio at sea offering hands-on cooking classes. But, one of the most remarkable firsts caught many by surprise. As journalists, travel agents and the first guests explored the decks of the luxurious new vessel, they were astounded to discover that they had boarded a floating art museum, one that showcased a world-class collection of artworks personally curated by the founders of Oceania Cruises. Most cruise lines hire third party contractors to assemble the decorative art for their ships, selecting one of the few companies capable of securing a collection of this scale. The goal of most of these collections is, at best, to enhance the ambiance and, at worst, to simply match the decor. Oceania Cruises founders Frank Del Rio and Bob Binder wanted to take a different approach. “We weren’t just looking for background music,” Binder says. “We wanted pieces that were bold and interesting, pieces that made a statement, provoked conversation and inspired emotion.” Marina and her sister ship, Riviera, were designed to eschew the common look of a cruise ship or hotel.