During the 1960s and 1970s, the Visual Arts Department of the Pan American Union, headquarters of the Organization of American States (OAS) in Washington, D.C., produced nearly fifty 16mm documentary short films on topics ranging from contemporary art to heritage sites and OAS member countries. This article focuses on a cluster of three titles about Peru directed by curator and critic José Gómez Sicre between approximately 1964 and 1968. Produced with funding from an international affiliate of Esso Standard Oil, the films were shot on location and demonstrate careful attention to the contexts of art production within an emerging cultural policy framework that cast art and heritage as engines of regional cultural development. The films further assert that the antiquities and modern art markets might be synchronized to become a generational taste formation, insofar as they identify classes of affordable artifacts that were finding their way to collectors relatively recently, and which had also inspired the work of postwar Peruvian artists. As an ensemble, the films reveal unexplored interactions between contemporary art movements, the development of heritage districts and site museums, and emergent cultural policies that continue to impact hemispheric American locations.

中文翻译：

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何塞·戈麦斯·西克雷（JoséGómezSicre）和泛美联盟视觉艺术部的纪录片

在1960年代和1970年代期间，泛美联盟视觉艺术部（位于华盛顿特区的美洲国家组织（OAS）总部）制作了近50部16毫米纪录片短片，主题涉及从当代艺术到遗产遗址以及OAS成员国家。本文重点介绍由策展人和评论家若泽·戈麦斯·西克雷（JoséGómezSicre）在大约1964年至1968年之间执导的有关秘鲁的三部影片。这些影片是由埃索标准石油公司的国际子公司资助制作的，在现场拍摄，并充分注意了周围的环境。新兴的文化政策框架中的艺术品生产，将艺术和遗产作为区域文化发展的引擎。这些电影进一步断言，就古物和现代艺术市场而言，它们可能会同步化，成为一代世代的品味形式，因为它们会找到可负担得起的文物类别，这些文物是相对较近的进入收藏家之路的，这也激发了战后秘鲁艺术家的作品。作为合奏，这些电影揭示了当代艺术运动，遗产地区和遗址博物馆的发展以及不断影响美国半球位置的新兴文化政策之间未曾探索的相互作用。