This collection of original artwork from the
touring show, America en la Mira, represents about seventy-five percent
of the original works in the show. The UCLA Chicano Studies Research
Center came to "own" these images, by default. The show came to UCLA in
1980 and was left here, we have been the caretaker since. Researchers
who would like to indicate errors of fact or omissions in this finding
aid can contact the research center at www.chicano.ucla.edu
This prefatory essay by Alfonso Espitia huerta, Director del Museo de
Arte Contemporano de Morelia is illustrative of the show's intentions:
AMERICA EN LA MIRA as a collective expression of the groups that work in
support of culture from the Mexican Front is an incredible synthesis of
the libertarian ideals of all epochs of our continent.
There is a generation torn apart by the aggressions of totalitarians,
which for most of the nations in continental America, lives and endures
in a climate of anti-culture, with signs contrary to Bolivar,
Washington, Hidalgo, Morelos, Marti, F.D. Roosevelt, Zapata, Guevara,
Whitman, Neruda, heroes who fought for the freedom of the world, from
their impressive nationalist position. This generation has found as a
dignified escape, an aesthetic expression enriched/informed by
They are youth that by exercising their universal rights expose their
ideas and feelings, to connect with their people; and addressing
critical problems of the community with a critical/analytical spirit.
They demonstrate that the formal attitudes of simple traditional
rhetoric can always be overcome and that if we have a glorious past of
struggle, rather than remembering it with nostalgia, it'd be best to
think of solutions that could achieve a real change of our old and
ominous order, so limited by group interests and transnational forces.
And they urge artists to return to the path of intellectual heroism from
within the profound aspects of public art, not to create utopias, but
the new world that we all hope for.
Therefore, it turns out to be a great incentive to contemplate the
handful of painters, who despise the abstract ambiguity and the bad
conscience of old mistakes made during the revolutionary struggle; they
continue struggling to exalt the spirit of the American man.
While it is true that the Mexican plastic has suffered a bourgeois gap,
our duty is to put ourselves at the forefront of humanism, taking up
again the inclination for the public art of Posada, Atl, Orozco, Rivera
and Siqueiros. In this way, we will again find the identity between
history, dignity, and art, and not to continue being trapped in the
modest, poor, and inadequate expression of underdevelopment.
You are then welcomed, the gifted men of fine perception, intelligence,
will, and fantasy, who do not conform to the tough requirements of the
established power/status quo and who escape the traditional modes of
transmission of knowledge, achieving the expansion of art through
renewed theses of social conscience.