Historic Films Stock Footage Archive: AFC-276

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01:00:02 2.9	Color Bars
01:00:24 24.2	Interview with Chicano Artist, Rupert Garcia Speaker 2 Didn't get to it and get to it. Suddenly to say it's hard to say at all layers, layers of stuff about
01:00:28 28.24	Speaker 2 Interviewer unseen I think the most important thing. I mean, this is to me, I don't know what the rest of the most important thing is showing as many pictures as possible.
01:00:34 34.64	Rupert Gardcia Yeah, I think that's good. I like that. I like that. Speaker 2 I'm just trying to get a lot of background. And also, we talked about like, we're gonna give you these days. Speaker 1 Garcia Oh, yeah. Speaker 2 Interviewer Unseen So we'll get a little xtra here Garcia Okay ask whatever you want man. I appreciate that too. thank you. Speaker 2 Interviewer I mean, that people start saying, Hey, we got to get Rupert to do this poster for this thing.
01:01:00 60.71	Speaker 1 Garcia That's right. That's, and I would respond. I would respond because I felt that open to the, to the need. And, and I did that for many, many years. And it felt right and did it. That huge studio. That was somewhat of a collective situation. And I did. I was the poster designer, maker for the Galleria de la Raza for about four or five years. And I did all the posters for the four or five years. And then others would call and make requests, I will do that. I do things just because I wanted to. Well, everything I had done is because I wanted to. I mean, because somebody could ask me, they have asked me, could you do a poll? I said, No, I cannot do poster for it. Because I don't agree with it. I don't believe in it. I only do stuff that I believe in. It's very difficult to maintain that position. But that's very important to me. Speaker 2 You know, what's fascinating, when you look at the posters, you can see it obviously is, you know, maybe at the time, it's a poster here or a poster there, you know, this is coming in this. But now when they're all together...
01:02:25 145.39	Speaker 1 Garcia It's amazing, I don't get it. It's amazing to me, I've had example of every piece I've produced, but never saw them as a body in which I can look around and see them and go chronologically from 67 to 1990. And so when the ?mounted the exhibition now is the first time and others too really had a chance to see this work. And I have two kinds of responses. One is, all these things have happened its kind of history of my involvement, and then didn't respond. Personally, when I did all these things. I can't, I can't believe i did all this stuff. It's overwhelming. And I just can't believe I did it. This seems larger, it seems larger than me. And that's what I meant by my earlier, you make a piece of work you you are a bit it's also bigger than you and I don't mean in an arrogant way either. And that's how I feel about the show, like I can't I can't quite get it in my mind that it's mounted. It doesn't seem that it exists. And Like I would have to drive down there and see it to believe that it exists. Because when I'm away from it, I don't believe it exists. It's just that I don't know how to put it. I mean, I know it's there of course but it just seems something bigger than me. Because I'm interested in my next piece and that goes on while I'm doing my next piece, it just is I find it interesting Speaker 2 Interviewer When people are walking around you know when you watch the people who are looking at the show, what do you think? Speaker 1 Garcia well , I really don't, I don't I don't think much about it. i If anything I just hope they enjoy that's all. I mean,
01:04:37 277.15	Speaker 2 that people are walking around and because cars it does it document so much of what's happened oh entry, you can see people going and making connections are gone. We it puts things in a timeframe. You know, like this was a this was a Speaker 1 what I what I hope that it does for them is that it shows them a point of view an historical point of view, that is not allowed to be seen so much in mainstream art, and in the media. And that this is, it's possible for them also, to do the same thing, to voice their beliefs. And I hope that they get that, as well as the chronology of this history, from a point of view that is not readily available in any book published on the 60s or the 70s. You look at these books on the 60s, they are their racist. There's no other way to put it because if you look at them, and whom they talk about, we will see who allegedly did the work. It was all these, these these white guys and white girls. And it's terrible, because the reality is more than that. And this exhibition, I hope, contributes to demystifying that lie. That little white lie. That is very important to me. Because numerous friends of mine, were involved in the 60s and early 70s of various colors and genders. And if you were to read these histories that are published, we receive minuscule amounts of ink. Terrible absolutely terrible. I can't, I can't, I don't understand it. I don't understand why they write these books that way, I just don't understand it. It's incomprehensible. It's as if they didn't see who else was around. Just themselves and I don't get it, I will try to think about it and talk to friends of mine about what is this? And this friend of mine who wrote a book in which he had a chapter that deals with criticizing these books, as well as a woman a little bit more themeless, in Z Magazine, wrote a piece that critiqued the various books that came out in the 60s. And I'm still dumbfounded by the omission. And I don't think it's an accident of people's of college contribution not only to the politics but to of culture. And, the, what we did and are doing in this country is is omitted. Speaker 2 Interviewer Do you see yourself as breaking any ground there?
01:08:06 486.5	Speaker 1 Garcia I think by the mere fact that the show exists, is presenting a perspective that needs to be heard and seen. And consequently, there is some ground being broken because it raises the question, or how about other artists? How about artists who evolved in the cultural African American movement, how about those artists? So yes, I hope the show does that. I really do. I really do. That is probably the most important thing to me that the show could do is to raise that issue of the bonafide contribution by people of color in the culture sphere of the 60s and the 70s. Absolutely. And continuing. People talk about people talk about mulit multiculturalism. Nonsense. You read those books from the 60s. I don't get it. I don't get it, doublespeak Speaker 2 Interviewer Redefine that thing about what you're talking and leave out in reference to books in terms of tasks, because, you know, we don't know what you're talking about be specific. Speaker 1 Garcia Yeah, I'm not doing it on purpose. Speaker 2 Talk about in general, just the concept of that multiculturalism that it wasn't
01:09:40 580.25	Speaker 1 Garcia well, we go, I don't know about this but the reality being about the 60s or in general? . It's the American myth about what America is, who America is, where America comes from, and what's supposedly going. The implication of that is whose culture is the best? whose history is significant? What food is important? What sounds, what aromas? What language? What hair texture, skin pigmentation, eye formation, pigmentation, nose formation, all that stuff. Well, if we follow the American myth, it's only your American base, that is of significance. And that becomes the measuring rule by which others contributions to our culture is decided if it's important or not. And that American myth, of the Euro culturalization, of America, this goes back to 1492. Not 200, several years ago. It's a major problem. Because what it does, what it does again, it creates a myth of universality. Universalism is that which is Eurocentric, no question about it. And so, in terms of, I'm getting lost, I'm getting lost, I'm sorry. Speaker 2 Interviewer I think what you're getting down to is this culture doesn't value the contributions of minorities. Speaker 1 Garcia Well, here's the issue. You see, just it's it's a two edged sword. This country, and by this country, I don't mean all the people. Because to say that this country does not appreciate a culture produced by people of color, that's a contradiction, because if you look at the music, and the African American music, to history has been of significance of this country for a long, long long time, so so you gotta, gotta be careful when you say that. We also does insane that we were saying that, I guess that people may respond to, let's say, African American music people, of all classes, all genders, and all colors. But the official culture, and there is an official culture, is interested in, is not interested in embracing in a significant way the cultures of peoples of color, and especially if the manifestation of the cultures of people of color has with it, elements of Africa, elements of Asia, or Latin America, or Native American, if they are in there, in a significant way, they ignore it. They embrace it, if they can consume it, or commodify it and thereby perhaps striking its potential criticality. And for the possibility of enlightenment for those who see it. I mean, when I see work from other cultures, I get enlightened. I gotta, I learn something about me and the people who make the work. I just find it enlightening. . Well, why don't we do it here? The extent to which we should? Well, it's very simple it's racism it's cultural chauvinism. And is rather keep you on the south side of Stockton, rather keep you in the Bronx, rather keep you in East LA, keep you in Watt, keep you in East Oakland, keep you in Fruitvale keep you in the Mission, keep you in Chinatown. What is that? Then they keep you there. And then they take some of the culture if they can use it, if they can use it. And I think multiculturalism has to be careful as a concept. If because it cannot continue that mode of operation of just to consume others cultures. It's not about that. It's about existence. It's about value. That's what it's about. And it's seems to me that pluralism, true authentic pluralism is about people who are different and that's good. Absolutely good, because that's the way it is. That's the way around the globe. Everybody's different. Does mean they're better, just means they're different.different languages, different foods, different kinds of music.
01:14:56 896.45	Speaker 2 Interviewer Tell me about the poster hanging on. on bike culture on, I'm sorry, on the Bicentennial. Speaker 1 Garcia Oh, bicentennial. Yeah, you know I, I knew that as we all did, in 75 our country was cranking out for the Bicentennial, for 1976. And I knew that there were going to be some official posters from the government to celebrate the occasion. Well But just by accident, I was on Union Street in 75 and passed by this store in which they had displayed four or five of these posters. And they were very good looking posters. Very handsome. But to me, insufficient, because what they presented was a was an aspect of history of America for 200 years. And an aspect that is that is exists should be there. But only an aspect. And it's they would celebrate as if everything is fine. Everything is not fine. And everything has never been fine in this country. And so I felt that I'm going to make my own Bicentennial art poster. Because these four put together are insufficient for me. so I made this poster about this, this individual who has been shot in the chest numerous times. And he is a man of color for a reason. And the reason is that this poster for the Bicentennial is my way of realizing the horrifying history that many people of color have experienced and continue to experience and that's a part of the celebration too. the celebration of struggle. And that's why I did that poster. It's a beautiful poster. Speaker 2 Garcia you want to call for a restaurant, to go , have lunch. How long are we going to be. Where ever you want to go.
01:18:03 1083.5	Speaker 1 Interviewer Sounds like New York, doesn't it. Sounds like a New York gallery. The bustle all the time Speaker 1 Garcia. I liked it. Speaker 2 Interviewer Talk a little bit about you know, the, for lack of a better term, I don't know. Chemical Warfare like I'm a farm worker Speaker 1 Garcia Oh DDT? That one or the one that's Speaker 2 Interviewer that's not the one with just DDT is another one. Speaker 1 Garcia The one that's uh, which one is this one? Speaker 2 Interviewer I don't know how to explain it, I'm looking at the videotape. Thinking about Speaker 1 Garcia is it red on white paper with a skull and grapes around it? Speaker 2 Interviewer Yeah. You were talking to your mom when you're looking at it. And you're talking about chemical warfare. And then you said you know, but you know, there's another form of chemical that Speaker 1 Garcia Oh that's DDT. it's the DDT it's blue background, a woman a girl girl is screaming, Yeah that's DDT. Interviewer So talk about, you know.
01:19:14 1154	Speaker 1 Garcia Well, that was done in 1969. And I had become familiar with the farmworkers movement because droughts because my my, my aunt, so she would talk about and. And through her i became aware of the chemical warfare against workers, farm workers. In 69 also I was asked to participate in a an exhibition open Museum of Art dealing with, it was called the Pollution Show. And as I learned later, that also that also was beginning of the Earth Day, the first Earth Day, 1970. WellI decided to make a poster on DDT and showing this young girl kind of distorted and trying to imply that this distortion is a consequence of being exposed to the chemical DDT. And to her cry her or her rebellious crying. It was also a protest against that. And so the poster was done for the exhibition, but its meaning came out of becoming aware of the chemicals used around farmworkers that was very deadly, is very deadly too that's what that was that was about Speaker 2 Interviewer the effect I hasn't been I know, my words are what I use, maybe for that chemicals in them something like that. But the threat to someone working in those fields is far greater Speaker 1 Garcia Well i worked in the fields myself as a youngster. my brother and I we never thought about that stuff, after topping onions and working the strawberries, We just never thought about chemicals. It wasn't you know, reality. But now in retrospect, you know, I could see as an ongoing lifestyle working in, in the field or the crops on which they use chemicals one could develop horrific diseases or even health conditions, the consequences of being exposed.
01:21:49 1309.08	Interviewer on the on the dog? Speaker 1 Garcia - that will be cleansed Speaker 2 Interviewer Uh Tell me about that. Speaker 1 Garcia That's a nice piece. I really liked that piece very much. I think it's a sweet piece. When I was in the first time I went to Mexico in 1973, went to see, among other things, Diego Rivera's mural at the National Palace in El Zacolo. I mean um about the plaza, the big plaza what's it called I can't think. Anyway and he had all these murals, I mean, just huge and astral Palace, just tremendous political statements, and then statements about the cultural development of ancient Mexico and all this stuff, you know, wow it was really epic. And then one section had a little dog just drinking some water. And I thought that was really, to me, very touching. And in midst of all this, you know, pictorial opera about Mexico. And I was very moved by these dogs and took photos of this detail. And later came back home and used one of the dogs and place he was drinking water to make a screen print. I don't know wh,y I would just move by it, nice shapes and the dogs were really beautiful. And I called it the better mcplan, dog of the land of the dead in in the myth, myths of ancient Mexico and those also which continue have myths about death mcclan, which beans landed the dead is the word for land of the dead. And there was a dog in this myth who leads the people who have died to ?. And the dog is taking a break here and drinking some water on the way to be ? That's what its about Speaker 2 dogs up a rock Thank you. Garcia Yeah, yes, very heroic figure. Speaker 2 Interviwer How about the self portrait?
01:24:27 1467.25	Speaker 1 Garcia You mean the rooster? which was this? that isn't a self portrait in the pastel, later on I do a pastel and it's called A Sometimes Self Portrait which is based upon that that rooster in in the poster I did for the Mexican Museum. Well, umm oh its very simple because the museum asked me to do a poster. And they had various things I could choose from. And I liked this the rooster was very exciting it was he was calling out your come to the Mexican museum. And that that's why. And the artist was one of the artists was guy from Mexico, a folk artist, a real folk artist. Speaker 2 Interviewer I want to ask you a couple of more things about some other paintings. But first, before we do that I want to talk to you about you know, what was it like to take your mom, your aunt, and your sister there and see your show? Speaker 1 Garcia A pain in the ass, laughs. it was well, I don't know what they felt. But I think there were so awed by it. They didn't even talk about it too much of the day or even at dinner, I think they were just maybe thinking about it. I didn't think much about it. Honest. Because I don't think that way. The only the only time I really felt something about something like this was when I took my mom to Paris, to see my show there in 87. That was something I really felt strongly about and deeply about very emotional about. See, she was there, my aunt was there, my brother was there and my sister in law was there. And that was amazing. I mean, I really felt something really personal about what I can't even say what it was. I was just very excited that we were together there, and was hoping that my sister was there. And my other brother and other sisters i should say, and my wife were there. Not to mention my whole family who were there because it was really a wonderful time because we walked around one evening in Paris. And I said, what are we doing here from Stockton? It was that kind of a deal. You know, who would ever imagine that we would be in Paris, let alone in Paris for this reason, for my show. So it was really a family response really was very exciting, very emotional. But the one that at the Legion of Honor, for some reason. didn't have that kind of response from me. And I can't speak for them. I was happy that they were there and hopefully that they enjoyed it. And hope they got a kick out of the banner,r you know, just restructure the museum, all that kind of stuff. No, but that's about all i guess.
01:27:58 1678.36	Speaker 2 Interviewer But you know, you are being very patient explaining everything it seems to me, like, you know, a lot of it's like, do you remember this one? Like, remember, do you know and it's like, it looked like they were making the connections too it might have been stuff they'd seen sort of like, you know, lying around and Speaker 1 Garcia they said a lot of them they haven't seen before. I think I never I never bought my stuff home. On occasion I did but not not a lot. So that's why they, some they had seen, most of it they hadn't seen. And I'm always, I tried to be patient with my family because I love them. Speaker 2 Interviewer Obviously, it's important though for you to bring them there. .And it's gotta be a different context I mean, it's it's not like they Speaker 1 Garcia It was more important for us being in Paris Speaker 2 28:48 Rupert, right I don't have pictures of Paris. Speaker 1 Garcia Oh, I see I see, in comparison to Paris this was this was better.
01:29:00 1740.58	Interview ends
01:29:42 1782.73	Reel end