ICAA Μ˙ at the Museum of Fine Arts, Houston ICAA Documents Project Working Papers the Publication Series for Documents of 20Th-Century Latin American and Latino Art
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International Center for the Arts of the Americas ICAA µ˙ at the Museum of Fine Arts, Houston ICAA Documents Project Working Papers The Publication Series for Documents of 20th-Century Latin American and Latino Art Number 1 September 2007 ICAA µ˙ Number 1 September 2007 ICAA Documents Project Working Papers The Publication Series for Documents of 20th-Century Latin American and Latino Art CONTENTS The ICAA Documents Project Working Papers series brings together essays stemming from the Documents of 2 Introduction 20th-Century Latin American and Latino Art: A Digital Archive and Publications Project at The Museum of Fine María C. Gaztambide, International Center for the Arts of the Americas, Houston Arts, Houston. It also serves as the official vehicle to assemble and distribute related research by the Center’s team of researchers, staff, and affiliates. The series is available in both print and electronic formats. 4 Entre la acción directa y la vanguardia: el estridentismo Francisco Reyes Palma, CURARE, Espacio crítico para las artes, México Series Editor: María C. Gaztambide, © 2007 The International Center for the For more information, please contact: 11 Vanguardia concreta rioplatense: ICAA/MFAH Arts of the Americas, The Museum of The International Center acerca del arte concreto y la música Fine Arts, Houston. All rights reserved. Translations and Publications Editor: for the Arts of the Americas Cristina Rossi, Fundación Espigas, Buenos Aires Héctor Olea, Ph.D., ICAA Cover: Jerry Dreva, Untitled [Dreva 1977] The Museum of Fine Arts, Houston P.O. Box 6826, Houston, TX 77265-6826 Design: Emily Hoops, MFAH mail art, 1977. 5601 Main Street, Houston, Texas 77005 Back Cover: Alberto Heredia, submission 17 Un chico correcto for catalogue of the exhibition Art 713-639-7814; [email protected] Luis Felipe Noé: crítico de arte en los años cincuenta Systems in Latin America, 1974. Roberto Amigo, Fundación Espigas, Buenos Aires ICAA Documents of 20th-century Latin American and Latino Art Project 25 El CAyC: la reconstrucción de un programa institucional Natalia Pineau, Fundación Espigas, Buenos Aires Central Administration, Olivier Debroise Museo Universitario de Steering Committee the Museum of Fine Arts, Houston Ciencias y Artes, UNAM, Mexico City Esther Acevedo Ph.D., CURARE, Mexico City 31 Raza Art & Media Collective: Diane Lovejoy Publications Director, MFAH Ximena Gama ICAA Intern Patricia Artundo Ph.D., Fundación Espigas, A Latino Art Group in the Midwestern United States María C. Gaztambide ICAA Research Coordinator Natalia Majluf Ph.D., Buenos Aires Olga U. Herrera, Institute for Latino Studies, University of Notre Dame, Indiana Museo de Arte de Lima, Peru Diane Lovejoy Publications Director, MFAH Gustavo Buntix Independent Scholar, Lima Justo Pastor Mellado Escuela de Arte, Helvetia Martell ICAA Documents Project Ana Maria Belluzzo Ph.D., Universidad de Artes, Ciencias y 38 Contextualizing “The Artists’ Statement:” Director and Chief Bibliographer Universidade de São Paulo, São Paulo Comunicación (UNIACC), Santiago, Chile Before, During, and After 1971 Sonia Montoya Special Assistant, ICAA Pilar García de Germenos Ivo Mesquita Pinacoteca do Estado, Víctor Alejandro Sorell, Institute for Latino Studies, CURARE, Mexico City Héctor Olea Ph.D., ICAA Translations São Paulo and Center for Curatorial Studies, University of Notre Dame, Indiana and Publications Editor Bard College Tracy Grimm Institute for Latino Studies, University of Notre Dame Mari Carmen Ramírez Ph.D., ICAA Director Chon Noriega Ph.D., 46 The Activism Legacy of Puerto Rican Artists in New York and Wortham Curator of Latin American Art Chicano Studies Research Center, UCLA María Elena Huizi Independent Scholar, Caracas and The Art Heritage of Puerto Rico Bianca Tikal ICAA Documents Project Marcelo Pacheco MALBA-Colección Yasmin Ramírez, Center for Puerto Rican Studies, Hunter College, Research Assistant María Iovino Independent Scholar, Bogotá Costantini, Buenos Aires (CUNY) New York City Gilbert Vicario ICAA Latino Coordinator Ivonne Pini ArtNexus, Carmen María Jaramillo and Universidad Nacional, Bogotá Universidad de los Andes, Bogotá 54 De la vanguardia artística chilena Editorial Board Mari Carmen Ramírez Ph.D., ICAA/MFAH Alberto Madrid Letelier Ph.D., Universidad de Playa Ancha, Valparaíso a la circulación de la Escena de Avanzada Tahía Rivero Ponte Beverly Adams Ph.D., The Diane and Bruce Paulina Varas, Centro de Investigación y Documentación de Artes Visuales Chilenas, Fundación Mercantil, Caracas Josefina Manrique Fundación Gego, Caracas Halle Collection, Scottsdale, Arizona Universidad de Playa Ancha, Valparaíso Gilberto Cárdenas Ph.D., Institute for Latino Victor A. Sorell Chicago State University Helvetia Martell ICAA/MFAH Studies, University of Notre Dame Edward Sullivan Ph.D., New York University Tere Romo Chicano Studies Research Center, UCLA 62 Contributors Karen Cordero Ph.D., Universidad Zuleiva Vivas Fundación Museos Nacionales, Iberoamericana, Mexico City República Bolivariana de Venezuela, Caracas Tomás Ybarra-Frausto Ph.D., Independent Scholar, New York City 1 ICAA µ˙ INTRODUCTION Natalia Pineau analyzes the documents and publications produced and distributed by the Centro de Arte y Comunicación Report from the Field: (CAyC) in Buenos Aires from 1969 to 1974. Organizing the New Apertures in the Visual Arts of Latino-America material chronologically, she identifies four key moments in the development of that hallmark of Argentinean conceptualism: María C. Gaztambide its beginnings in 1969, when the organization was known as International Center for the Arts of the Americas, Houston CEAC; the year 1970 and the inauguration of the premises at Viamonte Street; the activities and conception of terms such as “systems art” and “conceptual art” to define their work in Documents of 20th-Century Latin American and Latino Art: in the work of the Latino precursor Jerry Dreva, illustrated on the early 1970s; and, finally, until 1973, their work problematizing A Digital Archive and Publications Project is a ten-year project the cover, and Latin American artists such as the Argentinean both the regional and the national. dedicated to the recovery and publication of critical archival Alberto Heredia, whose work was included in the 1974 documents related to Latin American and Latino art, as a sub- exhibition Art Systems in Latin America—organized by Buenos Albeit they come from distinct geographical foci, Olga U. stantial means of increasing the scholarly depth of knowledge Aires’s Centro de Arte y Comunicación (CAyC) (fig. 1 and Herrera, Víctor Alejandro Sorell, and Yasmin Ramírez each in the field. Under the direction of Dr. Mari Carmen Ramírez, back cover). Much in the same way that Dreva and Heredia explore aspects of early Latino art in the United States. the Wortham Curator of Latin American Art and director of the speak to each other in their work, these essays remind us Working with unpublished materials that bring to the forefront International Center for the Arts of the Americas (ICAA) at of the connections that have historically existed in the arts the visual, organizational, and conceptual strategies of Latino the Museum of Fine Arts, Houston (MFAH), and a seventeen- of Latino-America. artists/activists during the 1960s and 1970s, these researchers member Editorial Board, we are currently in the midst of revisit the early marginalization and silencing of Latino artists a massive document recovery effort with active teams in Francisco Reyes Palma’s essay presents an alternative view that ultimately gave way to their combative discourses and Argentina, Brazil, Chile, Colombia, Mexico, Peru, the United to a Mexican avant-garde rooted in the Muralist movement political production. Active in the late 1970s, Michigan’s Raza States (including Puerto Rico), and Venezuela. through his tracing of early (1920s–30s) documentation on the Art Media Collective (RAMC) appears, at first glance, as a estridentista group. Not merely bringing to light understudied peripheral player within the realm of the Chicano movement. The ICAA Documents Project is the first of its kind undertaken texts and complementary graphic work, Reyes Palma’s essay However, as Herrera demonstrates through her investigation by a visual arts institution in the United States. No editorial broadens readings of the movement beyond Mexico City and of RAMC’s connections to Chicano collaboratives in the more venture of this scope currently exists or has ever been attempted Muralism while establishing the groundwork for future historically engaged cities of Los Angeles and San Antonio, far Fig. 1. Alberto Heredia (Argentina, 1924–2000), submission for catalogue of the in this field. Likewise, no other visual arts-based project has investigations of this and other alternate—while often also from twice-marginalized, it was in fact an important player in exhibition Art Systems in Latin America, 1974. Organized by Buenos Aires’s Centro sought to make use of available technology to provide access overlapping—currents in Mexican modernism. the movement. Equally engaged in their community, as Sorrell de Arte y Comunicación (CAyC); also shown at the Institute of Contemporary Art, London, and Espace Pierre Cardin, Paris. to archival materials while simultaneously connecting geograph- writes in his essay, members of the Chicago mural movement ically dispersed scholars and other producers of knowledge. In her discussion of Buenos Aires’s Concrete Art movement drafted “The Artists’ Statement” in 1971 as a