The ICAA’s partners in the Documents Project initiative include documentation centers, research-oriented museums, foundations, and private collections throughout Latin America and the United States. The participating centers provide office space and equipment, staff time to oversee researchers, assistance in locating artists and/or documents, photo duplication, scanning, and/or digital reproduction materials. A list of these centers is included below.
Fundación Espigas is a private nonprofit institution dedicated to the research, preservation, and documentation of the visual arts in Argentina. Since its creation in 1993, Fundación Espigas has organized an impressive collection of primary bibliographic resources in the field, in addition to a documents database. Because of its achievements in the preservation, documentation, and dissemination of information, Fundación Espigas was named an Organization of National Interest by the General Secretariat of the Argentine Presidency in 1996, and subsequently the country’s Ministry of Culture declared it a Cultural Interest Organization. The foundation’s holdings include exhibition catalogues, monographs, reference sources, and auction catalogs. These bibliographic materials are accessed through a database that has become Argentina’s most important resource for research in the visual arts field.
Show Team Members
Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), the foundation of the State of São Paulo, is one of Brazil´s most important grant-making government agencies for research in the sciences, technology, and the humanities. Linked to the country’s Secretariat for Science, Technology, Economic Development, and Tourism, FAPESP has been granting funds and scholarships in all areas of knowledge since 1962. It also finances other activities in support of investigation, educational and cultural interchange, and the popularization of science and technology in the State of São Paulo.
As one of Brazil’s leading research organizations, FAPESP, through its collaboration with the partner team, will ensure the inclusion of a considerable number of documents and texts regarding the production, interpretation, and display of twentieth-century Brazilian visual arts. The dissemination of these materials among scholarly audiences in Latin America and the United States will encourage a far greater number of comparative histories, as well as assist in updating educational and art-history curricula to reflect the diverse cultural enclaves that enclose the Americas.
In addition to generous support from FAPESP, the University of São Paulo provides office space in a beautifully restored Art Nouveau palace that is part of its School of Architecture and Urbanism (FAU/USP).
Digitalization Services and Institutional Collaborators: Instituto de Estudos Brasileiros, Fundação Biblioteca Nacional, Universidade Federal de Pernambuco
Lending Institutional Archives and Collections: Arquivo Histórico Municipal Washington Luiz, São Paulo; Arquivo Histórico Wanda Svevo, Fundação Bienal de São Paulo; Arquivo Multimeios do Centro Cultural São Paulo; Arquivo Nacional, Rio de Janeiro; Arquivo Público do Estado de São Paulo; Biblioteca da Faculdade de Filosofia, Letras e Ciências Humanas - FFLCH/USP; Biblioteca da Universidade Federal de Uberlândia; Biblioteca Faculdade de Arquitetura e Urbanismo da USP / Pós-graduação; Biblioteca Faculdade de Arquitetura e Urbanismo da USP / Cidade Universitária; Biblioteca Municipal Kennedy, São Paulo; Biblioteca Municipal Mário de Andrade, São Paulo; Biblioteca Municipal Prestes Maia, São Paulo; Biblioteca Paulo Santos - Paço Imperial, Rio de Janeiro; Biblioteca Pública do Estado de Pernambuco; Biblioteca Pública Governador Menezes Pimentel, Fortaleza; Escola de Artes Visuais do Parque Lage, Rio de Janeiro; Fundação Biblioteca Nacional, Rio de Janeiro; Fundação Darcy Ribeiro, Rio de Janeiro; Fundação Gilberto Freyre, Recife; Fundação Memorial da América Latina, São Paulo; Fundação Vera Chaves Barcellos, Porto Alegre; Instituto de Arte Contemporânea, São Paulo; Instituto de Estudos Brasileiros – USP, São Paulo; Museu Afro Brasileiro, Salvador; Museu AfroBrasil, São Paulo; Museu da Comunicação Hipólito da Costa, Porto Alegre; Museu de Arqueologia e Etnografia – USP, São Paulo; Museu de Arte Brasileira da Fundação Armando Álvares Penteado, São Paulo; Museu de Arte Contemporânea da Universidade de São Paulo; Museu de Arte Contemporânea de Niterói; Museu de Arte da Bahia. Biblioteca José Pedreira, Salvador; Museu de Arte de São Paulo Assis Chateaubriand, São Paulo; Museu de Arte do Rio Grande do Sul, Porto Alegre; Museu de Arte Moderna Aloísio Magalhães – MAMAM, Recife; Museu de Arte Moderna da Bahia, Salvador; Museu de Arte Moderna de São Paulo; Museu de Arte Moderna do Rio de Janeiro; Museu Lasar Segall, São Paulo; Museu Nacional de Belas Artes, Rio de Janeiro; Museu Paulista da Universidade de São Paulo; Pinacoteca do Estado de São Paulo; Biblioteca da Pontifícia Universidade Católica de São Paulo; Projeto Leonilson, São Paulo; Serviço de Biblioteca e Documentação ECA/USP, São Paulo; Sistema de Bibliotecas - Universidade Federal de Minas Gerais; Universidade Federal de Pernambuco; Universidade Ritter dos Reis, Porto Alegre; Amoa Konoya Arte Indígena, São Paulo; Biblioteca da Academia Paraense de Letras, Belém; Biblioteca da Fundação Pierre Verger, Salvador; Biblioteca do Centro Cultural Banco do Nordeste, Fortaleza; C/Arte, Belo Horizonte; Centro de Documentação e Biblioteca do Itaú Cultural, São Paulo; Centro de Estudos Afro-oriental, Salvador; Centro de Pesquisa e Documentação de História Contemporânea - Fundação Getúlio Vargas, Rio de Janeiro; Centro de Pesquisa e Documentação do Jornal do Brasil, Rio de Janeiro; Centro de Trabalho Indigenista São Paulo; Jornal Folha da Manhã, São Paulo; Jornal Folha de S. Paulo; FotoAtiva, São Paulo; Fundação Joaquim Nabuco – Recife/PE; Galeria Nara Roesler, São Paulo; Instituto Lina Bo e Pietro Maria Bardi, São Paulo; Instituto Moreira Salles, São Paulo; Instituto Ricardo Brennand, Recife; Instituto Socioambiental, São Paulo; Jornal do Comercio – Rio de Janeiro; Jornal O Estado de São Paulo, São Paulo; Projeto H.O., Rio de Janeiro; Projeto Portinari, Rio de Janeiro; Biblioteca da Pontifícia Universidade Católica, Porto Alegre/RS; Teatro Uzyna Uzona, São Paulo; Jornal Zero Hora, Porto Alegre.
Lending Private Archives: Ana Maria Belluzzo – São Paulo/SP; Analívia Cordeiro – São Paulo/SP; Anna Barros – São Paulo/SP; Antonio Henrique Amaral – São Paulo/SP; Aracy Amaral – São Paulo/SP; Arquivo Nice e Estrigas – Fortaleza/CE; Gontran Guanaes Netto – São Paulo/SP; Heloisa Juaçaba – Fortaleza/CE; Irene Ruchti – São Paulo/SP; Lotus Lobo – Belo Horizonte/MG; Lucio Gomes Machado – São Paulo/SP; Luiz Braga – Belém/PA; Paulo Bruscky – Recife/PE; Roberto Galvão – Fortaleza/CE; Sérvulo Esmeraldo – Fortaleza/CE.
Acknowledgements: Gleyce Heitor, Glória Ferreira, Ivo Mesquita, Milton Ohata, Tadeu Chiarelli y Vera D'Horta.
Active since 1999, the Seminario was founded by the research team for the exhibition CHILE, 100 Years of Visual Arts, curated by Justo Pastor Mellado and organized by the Museo Nacional de Bellas Artes, Santiago. The Seminario’s members, who belong to various academic disciplines, initially focused on Chilean art production between 1973 and 2000. Later, they expanded their framework to include the periods 1920–1930 as well as 1950–1960 so as to delve into the theoretical problems of historic reconstruction. During their initial meetings, the team members identified critical contributions to Chilean contemporary art through the examination of earlier decades of the twentieth century. This was an overlooked aspect of Chilean art history that proved to be relevant for the development of a new area of scholarship. The Seminario is now working on a compilation of artists’ texts and manifestos as a means of reconstituting the history of Chilean Conceptualism. The Seminario will connect and interface with the website “Textos de Arte en Chile,” an ongoing web-based visual arts documents archive.
The Universidad de los Andes is a private institution offering twenty-eight undergraduate and sixty-one graduate degree programs. It is renowned for its support of scholarly research in several fields, including history and theory of modern and contemporary art. Its research initiative is conducted through Colciencias, an entity that specializes in Colombian and Latin American visual arts. The initiative includes a publications program and sponsorship of the annual Premio Nacional de Crítica [Annual Award for Criticism].
CURARE, Espacio crítico para las artes, was founded in 1991 by a group of critics and art historians based in Mexico City. It is a nonprofit organization, primarily dedicated to the research and analysis of visual culture within a multidisciplinary context. CURARE offers research services, discussion groups, workshops, and specialized seminars. It also organizes guided tours, led by expert historians and critics, to different art sites (including mural programs) and private collections in Mexico.
In October 1991, CURARE published its first quarterly bulletin, which has since evolved into the most important journal for the dissemination of art-historical research and contemporary visual culture in Mexico. Additionally, the organization maintains a contemporary art data bank that has increased tremendously since its establishment fifteen years ago. This data bank is the result of individual contributions from artists, of ongoing research, and of research related to the organization’s various curatorial projects. Each file includes a biography of the artist, exhibitions, photographs, catalogues, artists’ statements, slides, clippings, critics, videos, and more.
Housed in a neo-Renaissance palace built between 1870 and 1871, the museum is devoted to preserving and exhibiting its historic collection of Peruvian art, which comprises objects dating from pre-Columbian times to the contemporary period and also features temporary exhibitions of contemporary art. The museum’s library and archives of Peruvian art comprise one of the largest art documentation centers in Peru, containing 5,000 volumes of original artists’ writings and rare manuscripts as well as 10,000 images related to Peruvian art.
UCLA’s Chicano Studies Research Center (CSRC) was founded in 1969 with a commitment to foster multidisciplinary research efforts in keeping with the University of California’s community-centered mission. The CSRC serves the entire campus and supports faculty and students in the social sciences, life sciences, humanities, and the professional schools. Its research addresses the growing Chicano and Latino population, which now constitutes nearly one-third of California and one-half of Los Angeles, but continues to have disproportionately low access to higher education. The CSRC also forms part of the Inter-University Program for Latino Research (IUPLR), a consortium of eighteen Latino research centers located at major U.S. higher-education institutions in the United States. The CSRC houses a library and special collections archive, an academic press, research projects, community-based partnerships, two competitive grant/fellowship programs, and the Los Tigres del Norte Fund. Since the 1970s, the CSRC has held six faculty positions that are placed on loan to other departments, thereby enabling the Center to increase its research capacity and to serve as a vital force for diversifying the curriculum and the faculty across the UCLA campus.
The Institute for Latino Studies at the University of Notre Dame promotes understanding and appreciation of the social, cultural, and religious life of U.S. Latinos through advancing research, expanding knowledge, and strengthening community. It plays a pivotal role in providing an academic environment at Notre Dame that furthers knowledge and understanding of the Latino experience in the United States. Founded in 1999 on the outstanding intellectual tradition in Latino studies that was established at the university by Julián Samora (professor in the Department of Sociology, 1959–1985), the institute seeks to enhance interdisciplinary study and research in Latino studies as a vital component of the university’s academic mission. While the institute has distinguished itself in the social sciences since its founding, it has increased its national profile in the arts with initiatives that include the 2004 establishment of the Andrés Montoya Poetry Prize, a first-book prize for Latino poets; and an award from the National Endowment for the Arts for the multidisciplinary proposal “Poetas y Pintores,” a research and exhibition project in full partnership with the Center for Women’s Inter-Cultural Leadership at Saint Mary’s College. The Institute is also the headquarters for the Inter-University Program for Latino Research (IUPLR), a consortium of eighteen institutions that brings together scholars from a variety of disciplines to conduct policy-relevant research on Latinos.
The Museo de Bellas Artes Juan Manuel Blanes operates under the auspices of the city of Montevideo’s Department of Culture. The museum’s cultural and political purpose was clear from the outset. Founded in 1930 on the occasion of the centennial of Uruguay’s independence, the museum formed part of an effort to strengthen the city government. It is named after a painter who, on the hundredth anniversary of the nation, would help create Uruguay’s iconography. As the institution grew, its initial conception—which revolved around its building, as well as a model of museum and of collection characteristic of the 19th century—underwent modification. Starting in 1940 and at the insistence of the museum’s director—painter César Pesce Castro—the institution began to receive works awarded at the Salón Municipal. In the fifties, it also began accepting works of contemporary art. In the framework of the current international crisis on the role of museums and their collections, the institution is committed to reconstructing its identity; it is more concerned with “re-signifying and problematizing” its collections than with incrementing them. It attempts to be accessible to the work of artists currently active and to perform a cultural service on both national and regional levels as a site of living culture.
As one of the leading financial conglomerates in Venezuela, Banco Mercantil has a solid tradition of community and cultural involvement. Since its establishment more than eighty years ago, its foundation has consistently developed programs that transcend its core financial activities, investing heavily in the welfare of the communities it serves.
Programming support for projects in education, health, culture, religion, and sports is administered through its charitable foundation. Additionally, the foundation has one of the best collections of Venezuelan art in the world. Through the creation of a corporate collection, the foundation actively acquires and exhibits works from the colonial period, the nineteenth century, and the modern and contemporary period in an effort to put forth a vision of creative and intellectual coherence within the context of Latin American art history. Additionally, through this endeavor the bank is ensuring that the country’s artistic patrimony is preserved for the enjoyment of future generations of Venezuelans.
Return to top of page