by Melissa Lau
Editorial Director
After taking time off from teaching last fall, Associate Professor of Art History Andrés Zervigón returned to the University of La Verne with an array of projects completed and some still being molded.
In September, Art Nexus published Zervigón’s article titled “Latin American Artists in the United States.” In this article, Zervigón gave an overview of trends in Latin American art, drawing on local artists as examples. He gave a talk on the article at the Latino Art Museum in Claremont.
As his next endeavor, Zervigón will present a series of lectures at the Los Angeles Museum of Contemporary Art, which will focus on a photography show entitled “Street Credibility.” In these lectures, Zervigón will explain the role of photographs as documents.
“Photographs have traditionally been seen as objective recordings of fact and therefore, as a document of reality, a recording that is unbiased and can’t be questioned,” Zervigón said.
This series is part of a Getty course Zervigón will teach called “Really Interesting Photographs: The document, the artwork and where the two converge.” The show includes over 200 photographs, which were taken between the 1940s through the 1970s.
The show, which opened Jan. 25, features photography by Diane Arbus in addition to other artists. Arbus chose to photograph nudists, transvestites, children and senior citizens.
“Arbus was interested in those parts of America that weren’t given any space in mass representation, that oppressed or ignored side of the county,” Zervigón said. “Her work seems committed to showing that these folks had interior lives as well; that they were human.”
Peering into the future, Zervigón recently jumped aboard a project expected to surface in 2007. The idea emerged when Zervigón gave a talk at the Getty in April 2002. He took this opportunity to suggest to Marcia Reed, Head of Collections at the Getty Research Institute, that the Getty should organize a show on photographer John Heartfield, an essential component of the Dada movement in Europe.
His proposal was recently approved and the exhibition, “The Photograph as a Weapon: John Heartfield,” is to take place at the Getty Complex.
Because this enterprise requires Zervigón to assemble a catalog consisting of a collection of essays and reproductions of his works, this project would add to the archive at the Getty. In addition, he is planning to invite scholars from around the world for a symposium.
“Andrés’ work is very well respected among art historians, artists and museum professionals. He is doing important and cutting edge research in a very specialized, and politically charged area,” said Ruth Trotter, professor of art. “He has been invited to curate an exhibition of Heartfield’s work at the Getty Research Institute, which is an honor and achievement of distinction.”
The exhibition includes book covers Heartfield created for books published by the Malik Press, “a left-wing press in Weimar-era Germany committed to translating and publishing leftist and anti-militaristic points of view.”
The covers were so popular, Zervigón said, that some people would buy the books just to keep the covers and then throw the books away.
Zervigón’s original dissertation was on the Berlin Dada movement. However, he moved his focus to Heartfield and decided to concentrate on him.
“He has stimulated the discourse in the department by enhancing the important role of art history and criticism as an essential part of the art experience,” Trotter said. “His research and professional activities at the Getty, the Museum of Contemporary Art, L.A., and others have brought a lot of recognition to the University.”
In addition to these projects, Zervigón also has two other projects wrapped up and waiting under the tree.
“Street Credibility” will remain open through June 7 at the Geffen Contemporary at the MOCA. Zervigón will lecture on Feb. 21 and 28 and March 6 and 13 from 10 a.m. to 12:30 p.m.
For more information visit moca.org.
Melissa Lau
