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.
In this document, Sid White and Pat Matheny-White discuss the results of their field research study of Chicano/Latino art in the United States Pacific Northwest (states of Washington, Oregon, and Idaho), which they suggest is the first of its kind and a significant contribution to future interregional dialogue. The authors highlight two important figures in the history of underrepresented arts of the region, African-American artist Isaac Shamsud-Din and Chicano Daniel DeSiga, both of whom address marginalized social, political, and cultural concerns in their works. The authors discuss the limitations of their study and the problematic issues of definitions affecting the scope of their research. They dedicate significant consideration to their findings in the areas of public art including regional murals, posters, and graphics, anonymously produced popular art, and personal art. A list of eighteen featured artists from the region is provided, followed by bibliographical information on each. A regional map of the Chicano/Latino art of the Pacific Northwest is also included.
Sid White (1924–2008) was a curator, researcher, and the director of Evergreen State College Gallery and its Exhibit Touring Services (ETS) in Olympia, Washington, as well as a faculty member at this university. His wife, Pat Metheny-White was a faculty arts librarian at Evergreen. Though written in the format of a final report for a funding agency (in this case the National Endowment for the Humanities, NEH), the article provides a valuable overview of Chicano art and artists from the more isolated Pacific Northwest. Aside from uncovering a wealth of artistic activity that went unnoticed nationally, the authors also found that artists were isolated from each other, which led them to organize in 1984 Chicano and Latino Artists of the Pacific Northwest, the first large-scale traveling exhibition focused on artists of this region. One of the few such documents addressing Chicano art from that area, their assertions of the study’s primacy and importance are certainly substantiated. The list of artists, with concise bios and images of their art, is a thorough and valuable contribution to Chicano art research. This document is also a good example of the role university-based centers (in this case the Centro de Estudios Chicanos at the University of Washington in Seattle) play in promoting Chicano art (and literature) nationally.