Documents of 20th-century Latin American and Latino Art Home


Steering Committee

The Documents Project's Steering Committee provided administration and logistical guidance during the recovery phase.

Click on the names of the Steering Committee members for a brief biography.

Esther Acevedo, Ph.D., CURARE, Espacio crítico para las artes, Mexico City, Mexico
Esther Acevedo received her B.A. from the University Iberoamericana, Mexico City (1973), an M.A. from the University of Illinois, Department of Fine Arts (1977), and a Ph.D. from the National University of Mexico (UNAM). Recently, Dr. Acevedo has served as Researcher in the Department of Historical Studies at INAH (Instituto Nacional de Anthropología e Historia), Mexico City; as Deputy Director of the Mexican Cultural Institute, Washington, D.C.; and as Head Curator of Painting and Sculpture at the National Museum of History, also in the Mexican capital. From 1997 to 2001, Dr. Acevedo was the Director of CURARE, Espacio crítico para las artes, a nongovernmental organization charged with providing a critical independent space for debate and discussion on the cultural milieu in Mexico. Her most recent publications include essays in Los pinceles de la historia. La fabricación del Estado 1864–1910 (Museo Nacional de Arte, 2003); Los pinceles de la historia. De la patria criolla a la nación mexicana 1750–1860 (Museo Nacional de Arte, 2000); and, printed by the same institution, Catálogo comentado del acervo del Museo Nacional de Arte. Escultura siglo XIX, vols. I and II (2001), as well as Catálogo comentado del acervo de Museo Nacional de Arte. Pintura siglo XIX, vol. I (2002). Dr. Acevedo is also the author of Testimonios artísticos de un episodio fugaz (1864–1867) (Instituto Nacional de Bellas Artes, 1995); Las distintas formas de ver el paisaje, Mexico: Landscape Revisited (Universe Publishing, 1995); fourteen entries for the Encyclopedia of Latin American History (Charles Scribners Sons, 1995); and En tiempos de la posmodernidad (Dirección de Estudios Históricos, INAH, Univ. Iberoamericana, Consejo Nacional para la Cultura y las Artes, Dirección de Difusión Cultural, UAM, 1989).
Patricia Artundo, Ph.D., Fundación Espigas, Buenos Aires, Argentina (2004–2007)
Ana Maria Belluzzo, Ph.D., FAPESP, São Paulo, Brazil
Ana Maria Belluzo is Professor of Art History on the Faculty of Architecture and Urbanism at the Universidade de São Paulo, Brazil. She is a board member of the Comitê Brasileiro de História da Arte and the Brazilian division of the International Association of Art Critics. She served as a consultant at the department of Development of Art Projects, Petrobrás (2001–2002), the Instituto Cultural Itaú (1990–1991), and the Memorial da América Latina (1990). Belluzzo’s publications include Carmela Gross (Cosac & Naify, 2000); O Brasil dos Viajantes (2nd ed., Objetiva, 2000); Coleção O Brasil dos Viajantes (Odebrecht, l994): Imaginário e Novo Mundo, vol. I, Um Lugar no Universo, vol. II, A Construção da Paisagem, vol. III; Voltolino e as raízes do Modernismo (Secretaria de Estado da Cultura de São Paulo, 1992); and Eduardo de Martino, pintor e marinheiro (Pancron Indústria Gráfica, l988).
Gustavo Buntinx, Independent Curator and Scholar, Lima, Peru (2008–2010)
Pilar García de Germenos, CURARE, Espacio crítico para las artes, Mexico City, Mexico
A curator with significant experience working in Mexico and abroad, Pilar García de Germenos has been a member of CURARE, Espacio crítico para las artes, since 1992. A member of the editorial board for the journal published by the same group, García has also published essays on early-twentieth-century Mexican art in exhibition catalogues and specialized journals. She has participated in important cultural projects, including the catalogue raisonné of twentieth-century work in the collection of MUNAL (Mexico’s Museo Nacional de Arte), as well as has conducted research for the corresponding essays, published in CD-ROM format as Museo Nacional de Arte: una ventana al arte mexicano. She has also conducted research at the MUNAL, collaborated on the publication of Hacia otra historia del arte mexicano (vol. III, CONACULTA in partnership with CURARE, 2008), and has been involved in exhibitions such as 1910: el arte en un año decisivo (1991); Alfredo Ramos Martínez, una visión retrospectiva (1992); Homenaje Nacional a Carlos Mérida (Instituto Nacional de Bellas Artes, 1992); and Arte-objeto (Instituto Nacional de Bellas Artes, 1979). García de Germenos was also co-curator of the exhibition and author of the catalogue for La era de la discrepancia. Arte y cultura visual en México 1968–1997 (Turner/UNAM, 2007), along with Olivier Debroise, Cuauhtémoc Medina, and Álvaro Vázquez (Universidad Nacional Autónoma de México and Dirección General de Artes Visuales, Museo de Ciencias y Arte). She earned B.A. and M.A. degrees in Art History from the Universidad Iberoamericana in Mexico City.
María C. Gaztambide, ICAA, MFAH, Houston, Texas
María C. Gaztambide directs the Documents of 20th-century Latin American and Latino Art project at the International Center for the Arts of the Americas (ICAA) of the MFAH, where she has actively collaborated in research, publication, and long-term exhibition initiatives since 2006. Previously Gaztambide was at Tulane University, where she taught courses on Latin American art and culture and pursued an M.A. in Art History as well as an interdisciplinary Ph.D. in Latin American Studies. Also at Tulane, she spent nearly four years as Visual Resources Curator at the Woldenberg Art Center. Prior to this appointment, Gaztambide spent more than two years conducting the Puerto Rico and New York Documentation Projects for the Archives of American Art, Smithsonian Institution. Through intensive archival and field research, both in New York City and on the island, she uncovered valuable primary-source material in the study of Puerto Rican and Latino art in the United States. While in Puerto Rico, she also worked for the Museo de Arte de Puerto Rico during its organizational and construction phase. Gaztambide returned to academia to pursue an M.A. in Art History at Tulane University (2001), where she specialized in the modern art of the region, with emphasis on the Spanish Caribbean. After field research in Cuba, María wrote her thesis on Amelia Peláez, the only female participant in that island’s vanguardia movement (1920s–40s). For her doctoral dissertation, she continues to work on issues of identity formulation by examining the historical construct of the cannibal and its multiple subversions in twentieth-century Caribbean art. Gaztambide also holds a B.S. degree in Management and Studio Art, also from Tulane (1995), and an M.A. in Arts Administration from the University of New Orleans (1997).
Tracy Grimm, Institute for Latino Studies, University of Notre Dame, South Bend, Indiana
Tracy Grimm is head of the ILS Library and currently serves as project coordinator for the ICAA Documents Project’s Midwestern team. She has an MLIS from the University of Texas at Austin, with a specialization in Archival Enterprise and a focus on preservation. Prior to joining the ILS, Ms. Grimm worked as a field archivist with the New York State Archives’ Documentary Heritage Program, where she worked closely with not-for-profit organizations to improve preservation and records management of the documentary heritage of the region. She also served as archivist for the County and City of Albany, New York, for which she collaborated with local teachers on curriculum development using primary-source materials. She recently completed a research report, published by UCLA-CSRC, on national efforts to identify and preserve Latino arts archival materials.
María Elena Huizi, Independent Scholar, Caracas, Venezuela
María Elena Huizi is a Venezuelan art historian, researcher, museologist, writer, editor, and cultural manager who graduated magna cum laude from the School of Liberal Arts at the Universidad Central de Venezuela and pursued graduate studies in philosophy. Since 1970, she has worked in some of the most important museums in Venezuela. In 1972, Huizi was part of the first prints and drawings department in a Venezuelan museum, working under Miguel Arroyo at the Museo de Bellas Artes in Caracas, an institution that she later directed. There, she also helped to conceive and establish the Centro de Investigación y Documentación y Difusión para las Artes Plásticas de América Latina (CIDAPAL), in 1978. Since 1990, Huizi’s numerous managerial positions have included Editorial Management Assistant, Monte Ávila Editores, Caracas, 1990–1992; Manager of Museological Development, Galería de Arte Nacional Foundation, Caracas, 1992–1994; President, Armando Reverón Museum Foundation, Caracas and Macuto, 1994–2001; and President, Museo de Bellas Artes Foundation, Caracas, 2001–2003. As a writer and critic, her work has been published in numerous dailies, journals, and catalogues in Venezuela and abroad. Some of her recent publications on poetry and art include Artes plásticas en Venezuela. Una mirada (Galería de Arte Nacional, 2000); and Sabiduras y otros textos de Gego/Sabiduras and Other Texts by Gego (The Museum of Fine Arts, Houston/Fundación Gego, 2005; compiled by and edited with Josefina Manrique).
Carmen María Jaramillo, Universidad Jorge Tadeo Lozano, Bogotá, Colombia
Carmen María Jaramillo studied philosophy, art, and architecture history in Colombia. She has collaborated extensively for art magazines and published essays in several books on twentieth-century Colombian art. Jaramillo worked as Chief Curator at the Museo de Arte Moderno de Bogotá and was head of the Division of Arts at the Colombian Ministry of Culture. In her work as a researcher, she has examined overlooked aspects of modern art in her country by exploring its gaps and configurations. As a curator and an academic, she combines both of these approaches. Her most recent research projects include The Role of Criticism in the Formation of Modern Art in Colombia 1946–1959 (Universidad Nacional de Colombia, 2005); Alejandro Obregón: El mago del Caribe (Asociación de Amigos del Museo Nacional de Colombia, 2001); and Place, Nature and Context: Colombian Contemporary Art (work in progress). While conducting research for her exhibition projects, Jaramillo has also gathered and classified a vast archive of periodicals and books on Colombian art from the 1950s onward. She is currently researching the works of the artists Beatriz González and Feliza Bursztyn.
María Iovino, Independent Curator, Bogotá, Colombia (2008–2009)
Alberto Madrid Letelier, Ph.D., Universidad de Playa Ancha, Valparaíso, Chile
Alberto Madrid Letelier is a professor and researcher in the Department of Art at the Universidad de Playa Ancha, Valparaíso, Chile. He has developed curatorial projects on contemporary Chilean art and has published his scholarly work in domestic and international journals. Madrid Letelier is the author of texts on contemporary printmaking in Chile, including La línea de la memoria (Ministerio de Educación, 1995) and Desplazamiento de la memoria (Imprenta Universidad de Playa Ancha, 1996), as well as of Utopías del bolsillo (Museo Nacional de Bellas Artes, 2006), a volume on Chilean art in general. Currently, he serves as Editor in Chief of the Puntángeles book series at the Universidad de Playa Ancha, where he is also Coordinator of CIDACH (Center for Research and Documentation of the Plastic Arts in Chile). Madrid Letelier received his Ph.D. from the Universidad Complutense in Madrid, Spain.
Josefina Manrique, Independent Scholar, Caracas, Venezuela
An art historian, a researcher, and an arts administrator in her native Venezuela, Josefina Manrique served as the Executive Director of the Fundación Gego in Caracas for many years. Under her leadership, the foundation developed exhibitions, as well as editorial and audiovisual projects, focusing on researching and documenting the work of its namesake German-born Venezuelan artist. Prior to her work at Fundación Gego, Manrique held other important posts at some of the most preeminent cultural institutions in Venezuela, including the Caracas Athenaeum and the National Library. She has also taught literature, graphic design, and art history at several universities in her country. Further, as a researcher, one of Manrique’s most recent scholarly projects is Sabiduras y otros textos de Gego/Sabiduras and Other Texts by Gego (The Museum of Fine Arts, Houston/Fundación Gego, 2005; compiled by and edited with María Elena Huizi), a publication that brings to light important unpublished texts by the artist. She is a graduate of the Escuela de Letras, at the Universidad Católica Andrés Bello in Caracas, where she studied philosophy and management.
Tere Romo, Chicano Studies Research Center, UCLA, Los Angeles, California
As the Arts Project Director at the UCLA Chicano Studies Research Center, Romo oversees arts-related projects, including the monograph series A Ver: Revisioning Art History (UCLA Chicano Studies Research Center Press) and the acquisition of special collections in the visual and performing arts. She is also the UCLA CSRC Latino Documents Project Coordinator and one of the lead researchers collecting primary Chicano art documents for the Documents of 20th-century Latin American and Latino Art project. As the Curator of Exhibitions at the Mexican Museum in San Francisco, Romo is responsible for the collection, exhibition-curating, catalogue production, and multidisciplinary public programming. Recent exhibitions for the Mexican Museum include Patssi Valdez: A Precarious Comfort (1999); Chicanos en Mictlán: Día de los Muertos in California (2000); and Covarrubias: The Rosa and Miguel Covarrubias Collection (2000). Romo has published essays on Chicana artists, Chicano art iconography, and Chicano graphics, and she is currently writing a monograph on Malaquias Montoya. She served as one of the curators for the traveling exhibitions Just Another Poster?: Chicano Graphic Arts in California and At Work: The Art of California Labor (2002). Romo’s awards include a Rockefeller Humanities Fellowship at the Smithsonian Institution, Washington, D.C. Romo is a member of the internationally renowned artist group RCAF/Royal Chicano Air Force, a key collective that helped define the Chicano art movement.