So, too, in San Diego, Mario Torero follows in the footsteps of his father, Guillermo Acevedo.
Guillermo Acevedo (1920-1988) moved to San Diego in 1959 from Arequipa, Peru. He became interested in San Diego’s Victorian homes, the waterfront, Balboa Park, Santa Fe Depot and its neighborhoods. His work influenced the interest in saving historic buildings and became involved in the forming of San Diego's Save Our Heritage Organisation. Acevedo began promoting his work in Balboa Park art-marts and later opened his own art gallery in downtown San Diego, later moving it to the Mission Hills area. He is credited with being one of the first recognized Latin American artists in Southern California in the 1970s. Acevedo lent his support to the establishment of the Centro Cultural de la Raza (considered part of the radical protest movements of the 1960s) and inspiring the new generation of Chicano artists. Among those new Chicano artists was his son Mario Torero.
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| Guillermo Acevedo / Historic buildings, San Diego |
The San Diego Airport Authority has honored Acevedo’s work in its recent unveiling of its year-long rotation of artists in addition to its permanent collection. Visitors to Terminal 1 and Terminal 2 will discover these works on the walls, on the ceilings, at various alcoves and even a meditation room.
The Airport Authority holds an open competition for siting new work. Mario Torero, Acevedo’s son, and also a landmark painter in San Diego, decided to apply to memorialize his father’s work.
Joe Nalven: So how did this airport exhibit of your father's work happen? Were you surprised to hear back from them when you applied?
Mario Torero: Everything was perfect timing. When I heard about the application, I was in the midst of researching my father's work for a book about his work with Marianne Peterson. Perhaps if I hadn't been working on the book, I might not have applied. His spirit is more alive at this moment, especially with his place in San Diego history with the Balboa Park Centennial.
I was surprised when I heard back from the airport and the interest in my dad's work. It took awhile but I know when things are right. Their curator, Lauren Lockhart, was very enthusiastic. She started coming over and said he would be in their gallery.
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| Guillermo Acevedo / Bending Electricity |
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| Terminal 1 Bridge / Looking down on cars, looking across at Guillermo Acevedo's illustrations |
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| Terminal 1 Bridge / Looking up at window images about Balboa Park and Guillermo Acevedo's illustrations |
Mario Torero: As part of the Centennial, I want to recreate an image of him sitting on the bench drawing. But looking back to my memories of him, it would always be a happy situation. When you knock on the door of his house and he opens the door, everyone who walks in, there's a feeling of happiness. Artists would come in, bring a guitar and wine. He would come back from Balboa Park with artists from other places, from Argentina, Romanian, Russian, wherever. The entire family. Some were gypsies; I thought we were gypsies.
Other artists would see him as a star. He's quoted in the paper and he's at the exhibits. The impact he gives, the way he dresses, he stands out. He always wore hats. Just like I do. And he would ask questions that would need to be asked - when others weren't asking them. For some it might have been embarrassing, but he was ready to dialogue.
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| Terminal 2 Exhibit Gallery / Art of Guillermo Acevedo |
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| Mario Torero / Chatting in a Little Italy Café |
Hello Mario. Your father was an incredible man and artist. He sketched me one day in an Old Town courtyard. We have had some of his paintings and loved "Lizard Man." It has been a pleasure to know him better through you and your wonderful artwork. We will for sure see the exhibit at the airport. Thank you.
ReplyDeleteI have a painting he did of Tijuana - so beautiful and evocative!
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