Destruction and Vandalism of Student Artwork
Destruction and vandalism were an unavoidable part of exhibiting art for many Chicanx and Latinx artists who attended Trinity in the 1970s and 80s. Whether it was racially motivated destruction, misunderstanding of the work itself, or a blatant disregard of the art in public spaces, Chicanx and Latinx alumni had to live with the reality that their work would be defaced or destroyed.
Roberto Gonzalez attended SAC for two years before transferring to Trinity in 1976. He remembers his artwork being vandalized when he left them in the art studios at SAC overnight.
"When I was at SAC, I would do work in the art building. I would leave it there because it would usually be large or whatever. But people would come up and, like, write on it and poke on it and stuff. And I'm like, oh, okay. Maybe this is not the best thing for me to do. So, I just do it at home and bring it in for appraisal."Destruction and vandalism was especially prevalent at Trinity University which lacked permanent gallery space for student artwork. Students would show work at the Student Union Building (now the Coates Student Center), Ruth Taylor Theater, Chapman Center, and Laurie Auditorium. These spaces lacked consistent security and were oftentimes used for other events while exhibitions were being held.
During one of the Con Safo exhibitions at Trinity, Felipe Reyes recalls that his artwork as long as José Esquivel’s were stolen. In this exhibit, Reyes, Esquivel, and likely other members created art surrounding a protest they did of racism perpetrated by cowboys and those engaged in southern ranching culture. Reyes notes that his works were likely stolen because they were found offensive.
When Reyes tried to make an appointment with the Office of the President to get the insurance covered for his and Esquivel’s works he was scolded by the office secretary and even threatened by a carpenter working in the building for trying to voice his opinions on the matter. Once Reyes was able to meet with the President, Duncan G. Wimpress, the secretary was reprimanded and the carpenter was not invited back on campus. Despite this resolution, this series of events highlights the indifference of a primarily white community to the issues that Chicanx and Latinx artists were facing and the silencing of their voices when they tried to stand up for themselves.
During his time at Trinity University, David Elizondo also experienced theft and destruction of his works. Look through these Trinitonian articles from 1978 advocating for permanent gallery space for student artwork. The authors cite the destruction of Elizondo’s and other students’ art as a reason why this space is needed.
