The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This is a brief review of the state of Chicano mural production in New Mexico at the time of this publication in 1978. It includes a short personal and artistic biography of the author, the New Mexican muralist Francisco Lefebre, and articulates his commitment to socially engaged artistic practice. The document traces the technical and aesthetic influences of Chicano muralism to pre-Columbian sources, as well as to Mexican muralism. Lefebre proclaims the mural as the ideal art form and expresses his expectations that the young Chicano mural movement will continue to develop. Lefebre details the inception of Chicano muralism in New Mexico, citing the influential participation of the collective, known as Los Muralistas Guadalupanos de Aztlan, as well as the development of mural projects in strategic locations throughout the state, including universities, churches, and other public buildings in New Mexico.
Francisco Lefebre is an artist who painted many of the murals located in and around Albuquerque, New Mexico. Lefebre, along with fellow artists Bernadette Rodriguez, Irene Oliver Lewis, and musicians Jesús “Chuy” Martinez and Lenore Armijo, founded El Centro Cultural de Nuevo México. In this article, published in the community newspaper, RAYAS, he outlines a personal history of the development of Chicano muralism in northern New Mexico, including influences from the Mexicans muralists (José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros) and early collaborative efforts of Chicanos painters in Santa Fe to form in 1970 the seminal group, Los Muralistas Guadalupanos de Aztlan. The article is a valuable resource regarding such a neglected geographic area within the history of Chicano muralism.