“I’m getting cornered into situations where the only way to get the work of Asco is to accept that it’s not the work of Asco,” independent curator Cecilia Fajardo-Hill said.
THE FOUR YOUNG Chicanos would meet daily in the International House of Pancakes on Atlantic Boulevard, looking a little conspicuous for East Los Angeles in 1971.Gronk and Valdez say images often came before the narratives — an idea echoed by Herrón in an interview I conducted with him in 2011. “A lot of artists, it’s difficult for them to work that way,” he told me then. “They really have to sit down and think about what they’re doing. ... We did the opposite.
Sandoval, who was present for key works and remembers his time with Asco very fondly, was loathe to commit to any particular version of events. He saw Gamboa and Gronk as the group’s intellectual architects, but adds that it has all become blurry with time: “Everybody was doing something. Patssi was doing something. I was doing something. And nobody was signing off on releases.”
Generally, copyright goes to a photographer or videographer, says M.J. Bogatin, a partner at Bogatin, Corman & Gold in Oakland who is also an attorney for the legal-services nonprofit. But “if the photographer has admitted somewhere that this was done with mutual intention to belong to the group, then the group might well prevail on a claim that they all share the copyright.” In that case, members of the group could be entitled to make derivative works .
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