Archives Directory for the History of Collecting in America
Archives related to: Mondini-Ruiz, Franco, 1961-
| title | Oral history interview with Franco Mondini-Ruiz, 2004 July 7-8. | repository | Archives of American Art |
| description | An interview of Franco Mondini-Ruiz conducted 2004 July 7-8 by Cary Cordova for the Archives of American Art, in Alameda, Tex. and San Antonio, Tex. Mondini speaks of his parents’ disparate backgrounds; his repressed childhood in Boerne, Texas; his family’s electronics store; discovering that his brother was actually his half-brother; attending undergrad and law school at St. Mary’s in San Antonio, Tex.; (cont.) his Catholic rearing; raising his Latino consciousness during and after law school; his life as a successful lawyer; his ingratiation into both rich white and Latino cultures; his partying and coming-out as a gay man; his making of art as a counterpoint to his office work; advice for young Latino artists; the importance of cheap art; exoticizing of Mexican culture by Anglos; quitting law and his experience living in Mexico City; and being diagnosed with HIV. Mondini-Ruiz also speaks of opening his Infinito Botanica and how he operated it; American drug culture; San Antonio’s cityscape and his “utopic” hope for it; his “Blue Star on Houston” exhibition; drug use; his show at Bard College as his big break; living with Alejandro Diaz; homosexual and Mexican rococo aesthetics; his exhibit at the 2000 Whitney Biennial and moving to New York City; the importance of found art; the universality of class and race struggles; the problems with over-materialization of artwork; his “Ballroom” show in Marfa, Texas and the issues confronting that city’s arts patronage; his making of the “Spurs Installation”; (cont.) his new anti-materialistic mindset; and the patterns within his career. Mondini-Ruiz also recalls Michael Tracy, Ito Romo, Rolando Briseno, Sandra Cisneros, Jesse Amado, Donald Judd, Frederieke Taylor, Julia Herzberg, Danny Lozano, Maaretta Jaukkuri, Tracey Moffat, Mike Casey, and others. Bio / His Notes: Interviewee Franco Mondini-Ruiz: Artist; New York; b. 1961. Legal name is Gino Francisco Mondini. Interviewer Cary Cordova: Art Historian; Austin, Tex.; b. 1970. |
| extent | Sound recording, master: 5 sound discs (5 hrs.,12 min.) : digital 2 5/8 in. Sound recording, duplicate: 4 cassettes Transcript: 93 p. |
| formats | Sound Recording Online Transcript Transcript |
| access | Transcript on the repository's website contact repository for further restrictions and policies. |
| record source | http://www.siris.si.edu/ |
| acquisition information | This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. |
| updated | 03/16/2023 10:30:00 |
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| title | Oral history interview with Rolando Briseño, 2004 Mar. 16- 26. | repository | Archives of American Art |
| description | An interview of Rolando Briseño conducted 2004 Mar. 16 and 26 by Cary Cordova for the Archives of American Art, in San Antonio, Tex. Briseño speaks of his family background; as a child going to Mexico during the summer; growing up in San Antonio; visiting the Witte Museum, taking art classes there; Jackie von Honts, a special tutor of Briseño; scholarship to Cooper Union in New York; (cont) Catholicism; Melita del Villar and realizing “Christian mythology”; exchange program with University of Texas, Austin and La Pontifica Universidad Católica del Peru, Lima, Peru; calling himself Chicano; passion for food; traveling around Europe; politics and its influence; coming to terms with his sexuality; graduate school at Columbia University; interest in boxing; involvement in Con Safo; working on a computer as opposed to painting; and the Historic and Design Review Commission of San Antonio. Briseño also recalls Roland Mazuca, Fernando de Syzslo, Santa Barraza, Sylvia Orozco, Kathryn Kanjo, Linda Pace, Jesse Amado, Chuck Ramirez, Franco Mondini-Ruiz, and others. Biographical and Historical Note Rolando Briseño: Artist; San Antonio, Tex. b. 1952. Interviewer Cary Cordova: Art Historian; Austin, Tex. b. 1970 General Note: Due to technical problems the interview was recorded on both compact disc and mini disc. |
| extent | Sound recording, master: 2 sound discs and 2 compact discs (3 hrs., 30 min.) : digital 2 5/8 in. 4 3/4 in. Sound recording, duplicate: 3 cassettes Transcript: 73 p. |
| formats | Sound Recording Online Transcript Transcript |
| access | Transcript available on line at http://www.aaa.si.edu/collections/oralhistories/transcripts/brisen04.htm |
| record source | http://www.siris.si.edu/ |
| finding aid | Transcript available on line at http://www.aaa.si.edu/collections/oralhistories/transcripts/brisen04.htm |
| acquisition information | This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. |
| updated | 11/12/2014 11:30:02 |
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| title | Oral history interview with Jesse Amado, 2004 May 31- June 7. | repository | Archives of American Art |
| description | An interview of Jesse Amado conducted May 31 and June 7, 2004 by Cary Cordova for the Archives of American Art, in San Antonio, Tex. Interview of Jesse Amado at the artist’s studio. Includes artist’s family background, personalities, and relationship of artist’s mother and father; parents' occupations and the effect on the family; brother Gilbert; early influences and experiences in drawing; role of religion during childhood; experiences in school including parochial school and losing interest in 12th grade; experiences working with architect O’Neil Ford in high school; decision to go into the Navy; experiences and travels in the Navy; first impressions of New York City; interest in literature and reading on works and life, including T.S. Eliot, Tom Sawyer, The Odyssey; first experiences with foreign film, especially L’Avventura; bilingualism including learning to speak English and it’s possible influences on art; work after the Navy on a tanker; travels in Europe; New York City and experiences working and living there; decision to return to San Antonio; starting at San Antonio College and experience of returning to school; first paintings; attempt at teaching; joining the fire department and influences of that job on his art; MFA study at University of Texas, San Antonio; influences of professors including Steve Reynolds, Mel Casas, and Dave Hickey; major influential discussion with Dave Hickey and art that resulted; BFA show exhibition; beginnings of ideas of fragility and mutability in early pieces; relationship to Minimalism or Conceptual Art in works; the growing art scene in San Antonio and it’s galleries, including FineSilver, Blue Star and Art Pace; relationships with other San Antonio artists including Franco Mondini, Chuck Ramirez, Rebecca Holland; discussion of Bemis Foundation show; artist’s feelings on being a Latino or Chicano artist; possible Latino influences on his art; discussion of Latino culture and iconography; (cont.) change from stronger tendencies in painting towards sculpture and installation pieces; discussion of works in the “Taking Liberties” exhibition [1992]; the artist’s creation process; discussion of Antonioni’s L’Avventura and its use in artist’s work; use of text as a visual form; importance of backstory and context to artist’s work; use of music and lyrics in work, including James Brown and the Beatles; interest in taglines and its use in art; interest in fashion especially fashion magazines and its use in art; introduction and use of DYMO tape in art; relationship and interactions with galleries and museums, especially the Whitney, Blue Star, FineSilver; Barbara Davis; use of digital photography in work; discussion of the economics of the gallery; the future of artist’s work and the importance of the process for the artist in the future; role of Catholicism in artist’s work; the exhibition “Renascence” at the Contemporary Arts Museum in Houston; influence of marriage and divorce on works. Biographical and Historical Note Jesse Amadao: Artist; San Antonio, Tex.; b. 1951. Interviewer Cary Cordoza: Art historian; b. 1970. |
| extent | Sound recording, master: 7 sound discs (4 hrs., 44 min.): digitial 2 5/8 in. 4 3/4 in. Transcript: 79 p. |
| formats | Sound Recording Online Transcript Transcript |
| access | Transcript available on line at http://www.aaa.si.edu/collections/oralhistories/transcripts/amado04.htm |
| record source | http://www.siris.si.edu/ |
| finding aid | Transcript available on line at http://www.aaa.si.edu/collections/oralhistories/transcripts/amado04.htm |
| acquisition information | This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. |
| updated | 11/12/2014 11:30:02 |
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| title | Oral history interview with Graciela Sanchez, 2004, June 25- July 2. | repository | Archives of American Art |
| description | An interview of Graciela Sanchez conducted 2004 June 25 and July 2 by Cary Cordova for the Archives of American Art, in San Antonio, Tex. Sánchez speaks of her family background, her family’s move to Chicago, return to San Antonio, and cultural traditions; San Antonio’s Chili Queens; activism in the community; high school, attending Yale University; (cont.) MEChA; Gloria Anzaldúa and This Bridge Called My Back; working for the Southwest Voter Registration Project; MALDEF, Mexican American Legal Defense; the foundation of Esperanza Peace and Justice Center with Susan Guerra and others; going to Cuba to study film; the Guadalupe Cultural Arts Center; the values of being “buena gente,” “good people”; Ellas, a Latina lesbian organization; working with Amy Kastely, lawyer; Mujer Artes; her film “No Porque lo Diga Fidel Castro”; working for AIDS prevention/education; the newsletter “The Interchange” which became “La Voz de Esperanza”; Stonehaven Ranch, a retreat location; the film screenings “Other America”; the complete de-funding of Esperanza in 1997 and the four year litigation with the city of San Antonio; trying to save the building La Gloria and other endeavors taken on by the Esperanza; the Cuentos Project and recent events sponsored by the Esperanza. Sánchez also recalls Audre Lorde, Luz Calvo, Eduardo Diaz, Liliana Wilson Grez, Cherríe Moraga, Cynthia Perez, Genevieve Vaughn, Franco Mondini-Ruiz, and others. Biographical and Historical Note Arts Activist, Executive Director of the Esperanza Peace and Justice Center; San Antonio, Tex.; b. 1960. Interviewer Cary Cordova: Art Historian; Austin, Tex.; b. 1970. |
| extent | Sound recording, master: 5 sound discs (5 hrs., 30 min.) : digital 2 5/8 in. Sound recording, duplicate: 4 cassettes Transcript: 91 p. |
| formats | Sound Recording Online Transcript Transcript |
| access | Transcript on the repository's website contact repository for further restrictions and policies. |
| record source | http://www.siris.si.edu/ |
| acquisition information | This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. |
| updated | 11/12/2014 11:30:02 |
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