Oral history interview with Liliana Wilson
odd: label: General
content: Originally recorded on 6 sound discs. Reformatted in 2010 as 8 digital wav files. Duration is 4 hr., 55 min.
name: label: Interviewee
content: Wilson, Liliana, 1953-
label: Interviewer
content: Cordova, Cary
label: Creator
content: Recuerdos Orales: Interviews of the Latino Art Community in Texas
label: Names
content: Recuerdos Orales: Interviews of the Latino Art Community in Texas
label: Names
content: Agosin, Marjorie
label: Names
content: Almeida, Arturo
label: Names
content: Anzaldúa, Gloria
label: Names
content: Chödrön, Pema
label: Names
content: Gonzales, Mia
label: Names
content: Navarro, Mary Margaret
label: Names
content: Perez, Cynthia
label: Names
content: Pinochet Ugarte, Augusto
label: Names
content: Treviño, Jesse, 1946-
label: Names
content: Wilson, Neil
label: Names
content: Yanez, Rene
topic: label: Occupation
content: Painters -- Texas -- Austin
label: Topic
content: Art -- Study and teaching -- Chile
label: Topic
content: Painting
label: Topic
content: Religion in art
label: Topic
content: Latino and Latin American artists
label: Topic
content: Women artists
label: Topic
content: Women painters
acqinfo: label: Provenance
content: 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.
creator: label: Interviewee
content: Wilson, Liliana, 1953-
label: Interviewer
content: Cordova, Cary
label: Creator
content: Recuerdos Orales: Interviews of the Latino Art Community in Texas
bioghist: label: Biographical / Historical
content: Liliana Wilson (1953-) is a Chilean born artist in Austin, Texas. Cary Cordova (1970-) is an art historian from Austin, Texas.
physdesc: label: Extent
content: 99 Pages (Transcript)
unitdate: label: Date
content: 2004, July 13-27
dataSource: label: Archival Repository
content: Archives of American Art
identifier: label: Identifier
content: AAA.wilson04
objectType: label: Type
content: Collection descriptions
label: Type
content: Archival materials
label: Type
content: Pages
label: Type
content: Sound recordings
label: Type
content: Interviews
genre_format: label: Genre/Form
content: Sound recordings
label: Genre/Form
content: Interviews
scopecontent: label: Scope and Contents
content: An interview of Liliana Wilson conducted 2004 July 13-27, by Cary Cordova, for the Archives of American Art, in Austin, Texas.
label: Scope and Contents
content: Wilson displays a slideshow of her works and discusses Disparecidos en el Cielo; The Gatekeepers; The Immigrants; Man Running from Himself; Girl and Red Fish; Self-Portrait; Organic Barbed Wire; The Fish Tree; The Wedding; Desperate Housewife; The Lovers; The Meaning of Life; Lies; Proposition 187; Luciano; Time; Shift; El dia en que le hicieron pedazos la corona; Casi Gomez; Man and Leaf, and others. Wilson also discusses her relationship with Gloria Anzaldua; her sister's kidnapping by the Pinochet regime; experiences winning art contests at primary school; her uncommon last name; her use of Catholic imagery; her bad experience teaching; her childhood in Valparaiso, Chile; the patriarchal qualities of Chilean culture; attending architecture school and then transferring to law; her father's death and the family's resulting financial struggles; her disdain for traditional political paradigms; Santiago during the 1973 coup by Augusto Pinochet; her apartment being raided by the Army; moving to America and working as an au pair; enrolling in Austin Community College; her color choices in her paintings; moving to San Francisco; her various jobs doing commercial art; her early grant from MACLA; her anti-social nature, and how Anzaldua's nature is similar; her various residences in San Francisco; her conversion to Buddhism; moving back to Austin and her love for its community; learning to promote her own work; painting nude forms; her disdain for certain Catholic ideologies; the painters which she considers influences, such as Bosch, Kahlo, and Klee; her inability to be recognized by museums; the masculine nature of art academia; her involvement in the San Antonio arts scene; and the positive qualities of the United States. Wilson also discusses Cynthia Perez, Mia Gonzales, Jesse Treviño, Rene Yañez, Pema Chödrön, Neil Wilson, Arturo Almeida, Mary Margaret Navarro, Marjorie Agosin, and others.