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 1976 flowchart depicts Chicano artist Melesio Casas’s formula for the integration of Chicano art into a national aesthetic of American art. The diagram is divided into five sections: a general overview of Chicano art; “Value of Chicano Art”; “Chicano Art Objectives”; “Implications: Artistic”; and “Implications: Social.” In this diagram, Casas outlines the importance of making Chicano art accessible to the greater public. He also acknowledges that often times, institutions fail to educate the population and he calls upon the Chicano artist to bridge “artistic reality” to “cultural need” through the iconography of the Chicano art form.
Melesio Casas (born 1929) is an important artist in the Chicano art movement. Best known for his Humanscape: Visual Humanscape series, an ongoing project that began in 1965, which is framed as the cinematic movie screens of drive-in theaters, Casas creates visual contradictions and textual puns as a way of exploring varying human histories as landscapes. The artist primarily focuses on Chicano politics and cultural values of the 1970s and 1980s that were concerned with representing minority expressions in the American national canon of art. Mel Casas was born in El Paso, Texas, and received a bachelor of arts degree from Texas Western College in 1956 and a master of arts degree from the University of the Americas, Mexico City in 1958.