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Article: Conservation Versus Historicity: a Necessary Reconciliation for The
Article: Conservation versus Historicity: A Necessary Reconciliation for the Intervention in the Photographic Collection of Frida Kahlo Author(s): Elisa Carmona Vaillard & Karla Castillo Leyva Topics in Photographic Preservation, Volume 16. Pages: 279-285 Compiler: Jessica Keister © 2015, The American Institute for Conservation of Historic & Artistic Works. 1156 15th St. NW, Suite 320, Washington, DC 20005. (202) 452-9545, www.culturalheritage.org. Under a licensing agreement, individual authors retain copyright to their work and extend publication rights to the American Institute for Conservation. Topics in Photographic Preservation is published biannually by the Photographic Materials Group (PMG) of the American Institute for Conservation (AIC). A membership benefit of the Photographic Materials Group, Topics in Photographic Preservation is primarily comprised of papers presented at PMG meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Topics in Photographic Preservation, Vol. 16, have not undergone a formal process of peer review. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the PMG or the AIC. The PMG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. Conservation versus Historicity: A Necessary Reconciliation for the Intervention in the Photographic Collection of Frida Kahlo Elisa Carmona Vaillard & Karla Castillo Leyva Presented at the PMG session of the 2015 AIC Annual Meeting in Miami, Florida. Abstract In 2004 the Frida Kahlo Museum in Mexico City opened a sealed bathroom and discovered the contents of a photographic collection belonging to the Mexican painters Frida Kahlo (1907- 1954) and Diego Rivera (1886-1957). -
Kahlo in 1932, Photographed by Her Father, Guillermo Kahlo 1907–1924: Family and Childhood
RICKMANSWORTH U3A ART APPRECIATION GROUP Frida Khalo February 2018 Rickmansworth and District U3A Art Appreciation Group Programme for 2018 22 January Members’ Suggestions. 26 February Paintings of Frida Khalo (following the Classic Film Club film). 26 March ‘Isms’ – Baroque overview, Allegoricism, Baroque Classicism, Pietism. 23 April British Art: British Women Artists. 21 May Alternative meeting to avoid Spring Bank Holiday – visit to Bushey Museum and Ben Uri collection exhibition. 25 June ‘Isms’ - Sectarianism, Gesturalism, Emotionalism, Caravaggism. 23 July Wallace Collection visit. 27 August Summer Bank Holiday. 24 September British Art: The Glasgow Boys (or other British School). 22 October Another visit/talk. 26 November ‘Isms’ – Absolutism, Rococo, Academicism, Neo-Classicism. December No meeting – Christmas and New Year. Hertfordshire County Council plans to sell 'non-relevant' art A consultation on the proposed sale of artwork worth thousands of pounds owned by a local authority has begun. Hertfordshire County Council has 1,828 works, valued at £26.2m, and wants to get rid of 90% as they are at risk of deterioration. It plans to sell off or gift to museums more than 1,600 pieces that it says have little relevance to the county, and could raise £400,000. The money it raises will be used to conserve the remaining 167 piece which include four Henry Moore and Barbara Hepworth sculptures, which alone are insured for £21.85m. Consultation timetable • Acrylics and oil paintings 22nd Jan 2018 - 4th Feb 2018 • Drawings and watercolours -
CHICAS: Discovering Hispanic Heritage Patch Program
CHICAS: Discovering Hispanic Heritage Patch Program This patch program is designed to help Girl Scouts of all cultures develop an understanding and appreciation of the culture of Hispanic / Latin Americans through Discover, Connect and Take Action. ¡Bienvenidos! Thanks for your interest in the CHICAS: Discovering Hispanic Heritage Patch Program. You do not need to be an expert or have any previous knowledge on the Hispanic / Latino Culture in order to teach your girls about it. All of the activities include easy-to-follow activity plans complete with discussion guides and lists for needed supplies. The Resource Guide located on page 6 can provide some valuable support and additional information. 1 CHICAS: Discovering Hispanic Heritage Patch Program Requirements Required Activity for ALL levels: Choose a Spanish speaking country and make a brochure or display about the people, culture, land, costumes, traditions, etc. This activity may be done first or as a culminating project. Girl Scout Daisies: Choose one activity from DISCOVER, one from CONNECT and one from TAKE ACTION for a total of FOUR activities. Girl Scout Brownies: Choose one activity from DISCOVER, one from CONNECT and one from TAKE ACTION. Complete one activity from any category for a total of FIVE activities. Girl Scout Juniors: Choose one activity from DISCOVER, one from CONNECT and one from TAKE ACTION. Complete two activities from any category for a total of SIX activities. Girl Scout Cadettes, Seniors and Ambassadors: Choose two activities from DISCOVER, two from CONNECT and two from TAKE ACTION. Then, complete the REFLECTION activity, for a total of SEVEN activities. -
ISSUE 6: May 2021 to Worry About
and allow yourself time to adjust. Being in person Q: What are things to avoid zoom burn out? will be more distracting and social, which is import- iFeel A: Try not to multitask while on ZOOM. Try not ant, so need to maintain discipline. By Diamante Cameron to have too many windows opened. Actually have the camera on--you’ll engage more. Then turn off Q: What are things you do to help your mental There is no denying that school is very tax- the computer at the end of classes and do some- health? ing on one’s mental health, from approaching due thing non-digital. I cook or read or garden. A: Walk and watch Netflix. Go to the beach. dates to asking for help there is always something ISSUE 6: May 2021 to worry about. I reached out to our high school Q: What are things you do to help your mental Lynne Nirattisai (she/her): 9/10th Math facilitators to ask them questions on how to stop health? procrastinating, stay focused, and how we can A: I love to cook, garden, read--I also have a guilty Q: What is your advice for how to avoid being make their lives easier. Here are some of the an- TikTok habit. overwhelmed? swers that I got from 7 facilitators and highschool student support. Yoonhee Aprahamian (she/her): Art A: Have a partner. A best friend, a parent, a sibling, even an online buddy. This should be someone who Q: We all have days where we just can’t, what is your teammate. -
The Blue House: the Intimate Universe of Frida Kahlo
The Blue House: The Intimate Universe of Frida Kahlo “Never in life will I forget your presence. You found me torn apart and you took me back full and complete.” Frida Kahlo By delving into the knowledge of Frida Kahlo's legacy, one discovers the intense relationship that exists between Frida, her work and her home. Her creative universe is to be found in the Blue House, the place where she was born and where she died. Following her marriage to Diego Rivera, Frida lived in different places in Mexico City and abroad, but she always returned to her family home in Coyoacan. Located in one of the oldest and most beautiful neighborhoods in Mexico City, the Blue House was made into a museum in 1958, four years after the death of the painter. Today it is one of the most visited museums in the Mexican capital. Popularly known as the Casa Azul (the ‘Blue House’), the Museo Frida Kahlo preserves the personal objects that reveal the private universe of Latin America’s most celebrated woman artist. The Blue House also contains some of the painter’s most important works: Long Live Life (1954), Frida and the Caesarian Operation (1931), and Portrait of My Father Wilhelm Kahlo (1952), among others. In the room she used during the day is the bed with the mirror on the ceiling, set up by her mother after the bus accident in which Frida was involved on her way home from the National Preparatory School. During her long convalescence, while she was bedridden for nine months, Frida began to paint portraits. -
Cinco De Mayo
Cinco De Mayo Mexico’s most famous military victory took place on the morning of May 5th, 1862. On that day, about 4,000 Mexican soldiers fought off and drove back the much larger French army at the village of Puebla, Mexico. The French, along with Spanish and English troops, landed in Mexico to help collect debts from President Benito Juarez. The English and Spanish made deals and left, but the French stayed because they had designs on the Mexican empire. They marched from the port of Vera Cruz,, intending to attack Mexico City to the west. The Calvary, led by Colonel Diaz, who would later become Mexico’s president and dictator, went out to meet the French, who were unable to overcome them. The French militia tried to overcome the Mexican militia who were on foot, but a serendipitous thunderstorm frightened hundreds of cattle in the area, who started to stampede, helping to drive the French away. Cinco de Mayo is an annual holiday celebrating that victory, as well as Mexican freedom and liberty. Cinco de Mayo is celebrated throughout Mexico, as well as in parts of the United States. States with large populations of people with a Mexican heritage, like Texas and Southern California, frequently celebrate Cinco de Mayo. Fun Facts: • Cinco de Mayo means 5th of May in Spanish. It is the anniversary of a battle that took place between the Mexicans and the French in 1862. • Mexico had many rich natural resources and gold, which made them vulnerable to other nations that wanted to take advantage of these riches. -
Art and Pain in Frida Kahlo* Arte E Dor Em Frida Kahlo
Rev Dor. São Paulo, 2014 apr-jun;15(2):139-44 REVIEW ARTICLE Art and pain in Frida Kahlo* Arte e dor em Frida Kahlo Rodrigo Siqueira-Batista1,2, Plínio Duarte Mendes3, Julia de Oliveira Fonseca1, Marina de Souza Maciel4 *Received from the Federal University of Viçosa, Viçosa, MG, Brazil. The article is result of the project “Parallel between health and art: Frida Kahlo’s colors”, appreciated and approved by the Ethics Committee for Research with Human Beings, UFV (Of. Ref. N 005/2012/CEPH). DOI 10.5935/1806-0013.20140018 ABSTRACT CONTEÚDO: A partir da apreciação do filme e de telas sele- cionadas da autora – analisadas com o apoio dos artigos obtidos BACKGROUND AND OBJECTIVES: The Mexican painter na revisão da literatura – foram organizadas quatro seções para a Frida Kahlo is one of the most important artists of the twenti- apresentação dos elementos obtidos: (1) As ‘origens’ de Frida, (2) eth century. After being involved in a car accident, remained at O primeiro acidente, (3) O segundo acidente: Diego Rivera e (4) O home to recover from several injuries, significant event for the martírio da maternidade frustrada. dawning of her painting. The aim of this study was to present CONCLUSÃO: Frida obteve na arte seu maior conforto, trans- aspects of the biography and life of Frida, seeking intersections formando sua trajetória dolorosa e intensa em um fecundo pro- between her artwork and her painful experiences. cesso de criação, o qual refletiu os sentidos de sua existência. CONTENTS: From the appreciation of film and screens select- Descritores: Dor crônica, Estresse psicológico, Medicina na ed author - analyzed with the support of the articles obtained arte, Pinturas. -
The Mexican General Officer Corps in the US
University of New Mexico UNM Digital Repository Latin American Studies ETDs Electronic Theses and Dissertations 12-1-2011 Valor Wrought Asunder: The exM ican General Officer Corps in the U.S.-Mexican War, 1846-1847. Javier Ernesto Sanchez Follow this and additional works at: https://digitalrepository.unm.edu/ltam_etds Recommended Citation Sanchez, Javier Ernesto. "Valor Wrought Asunder: The exM ican General Officer Corps in the U.S.-Mexican War, 1846-1847.." (2011). https://digitalrepository.unm.edu/ltam_etds/3 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Latin American Studies ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Javier E. Sánchez Candidate Latin-American Studies Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: L.M. García y Griego, Chairperson Teresa Córdova Barbara Reyes i VALOR WROUGHT ASUNDER: THE MEXICAN GENERAL OFFICER CORPS IN THE U.S.-MEXICAN WAR, 1846 -1847 by JAVIER E. SANCHEZ B.B.A., BUSINESS ADMINISTRATION, UNIVERSITY OF NEW MEXICO 2009 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS LATIN AMERICAN STUDIES The University of New Mexico Albuquerque, New Mexico December 2011 ii VALOR WROUGHT ASUNDER: THE MEXICAN GENERAL OFFICER CORPS IN THE U.S.-MEXICAN WAR, 1846-1847 By Javier E. Sánchez B.A., Business Administration, University of New Mexico, 2008 ABSTRACT This thesis presents a reappraisal of the performance of the Mexican general officer corps during the U.S.-Mexican War, 1846-1847. -
1. Frida Kahlo, Self-Portrait on the Borderbetween Mexico Andthe
1. Frida Kahlo, Self-Portrait on the Border Between Mexico and the United States, 1932 . New York, Manuel Reyero(Christie's). 22 CULTURE, POLITICS, AND IDENTITY IN THE PAINTINGS OF FRIDA KAHLO JANICE HELLAND Frida Kahlo used the often traumatic and harrow- public protest opposed to American intervention ing iconography of her Mexican heritage to paint in Guatemala. On 14 July 1954, her body lay in herself and the pain which had become an integral state in the magnificent foyer of the Palace of part of her life after, at age eighteen, a streetcar Fine Arts in Mexico City. Much to the chagrin of accident left her crippled. From then on she un- Mexican officials, her coffin was draped with a derwent a series of operations and, because of her large flag bearing the Soviet hammer and sickle severely injured pelvis, a number of miscarriages superimposed upon a star. With her love of the and abortions. Her physical disability never inhib- unconventional and her talent for black humor, ited Kahlo's flair for theatrics, and this, combined Kahlo, in all likelihood, would have enjoyed the with a tempestuous relationship with her philan- uproar caused by this spectacle.' dering husband, the mural painter Diego Rivera, Kahlo, like many other educated young people established her as a tragically romantic and exotic during the tumultuous era between the world figure. As a result, Kahlo's works have been ex- wars, joined the Communist Party in the 1920s. haustively psychoanalyzed and thereby white- In the early part of the century, the intellectual washed of their bloody, brutal, and overtly politi- atmosphere in Mexico was charged with cosmo- cal content. -
Feminist Studies
FEMINIST STUDIES EDITORIAL DIRECTOR Claire G. Moses EDITORIAL COLLECTIVE Judith Keg an Gardiner, Minnie Bruce Pratt (creative writing editor), Karla Mantilla, Leis a D. Meyer, Claire G. Moses, Layli Phillips, Suzanne Raitt, Gayatri Reddy, Gay Seidman, Millie Thayer MANAGING EDITOR Karla Mantilla BUSINESS MANAGER Angie Young TYPESETTER Lise Spectre DESIGNER Duy-Khuong Van What I Saw in the Water or What the Water Gave Me, 1938. Oil on canvas, 91 x 70.5 cm. Private collection. FEMINIST STUDIES EDITORIALDIRECTOR Claire G. Moses EDITORIALCOLLECTIVE Judith Kegan Gardiner, Minnie Bruce Pratt (creative writing editor), Karla Mantilla, Leisa D. Meyer, Claire G. Moses, Layli Phillips, Suzanne Raitt, Gayatri Reddy, Gay Seidman, Millie Thayer MANAGINGEDITOR Karla Mantilla BUSINESSMANAGER Angie Young TYPESETTER Lise Spectre DESIGNER Duy-Khuong Van Figure 1. MY GRANDPARENTS, MY PARENTS, AND I, 1936. Oil and tempera on metal panel, 30.7 x 34.5 cm. Museum of Modern Art, New York. All images by Frida Kahlo © Banco de México Diego Rivera and Frida Kahlo Museums Trust. Figure 2. NUDE OF MY COUSIN ADY WEBER, 1930. Pencil on paper, 60 x 47 cm. Museo Dolores Olmeda PatiZo, Xochimilco, México. Figure 3. PORTRAIT OF MY FATHER, 1951. Oil on masonite, 60.5 x 46.5 cm. Frida Kahlo Museum, Coyoacán, México. Figure 4. DETAIL OF WHAT I SAW IN THE WATER or WHAT THE WATER GAVE ME, 1938. Oil on canvas, 91 x 70.5 cm. Private collection. Figure 5. MY BIRTH, 1932. Oil on metal, 30.5 x 35 cm. Collection of Madonna, New York. Figure 6. WITHOUT HOPE, 1945. Oil on canvas, 28 x 36 cm. -
Porfirian Influence on Mexican Journalism: an Enduring Legacy of Economic Control
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1987 Porfirian influence on Mexican journalism: An enduring legacy of economic control Steve Devitt The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Devitt, Steve, "Porfirian influence on Mexican journalism: An enduring legacy of economic control" (1987). Graduate Student Theses, Dissertations, & Professional Papers. 5085. https://scholarworks.umt.edu/etd/5085 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 Th is is an unpublished m a nu scr ipt in w hich c o pyr ig ht s u b s is t s . Any further r e p r in t in g of it s contents must be APPROVED BY THE AUTHOR. Ma n s f ie l d L ibrary Un iv e r s it y of Montana D a t e :____ 1_ THE PORFIRIAN INFLUENCE ON MEXICAN JOURNALISM: AN ENDURING LEGACY OF ECONOMIC CONTROL by Steve Devitt B.A., Eastern Montana College, 1971 Presented in partial fulfillment for the requirements for the degree of Master of Arts in Journalism University of Montana 1987 Approved by Graduate School UMI Number: EP40549 All rights reserved INFORMATION TO ALL USERS The. -
Leveled Reading- -Resources- -Activities
BIO Sphere -Leveled Reading- ATI RE VE -Resources- C K R A A A A L L L L C C C -Activities- C D L W O R Editable Presentation hosted on Google Slides. Click to Download. Early Life Early Life Frida ● Frida Kahlo was born on July 6, 1907 in ● In 1925, she was in a bus Kahlo Mexico City, Mexico. accident. Mexican Icon ● When she was six, she caught polio. This ● She had to stay in bed to gave her a limp for the rest of her life. recover for two years, and she Her father encouraged her to do sports was in pain for the rest of her life. to help her recover. ● While she was in bed ● She went to the National Preparatory recovering, she started painting. School. She was a good student and Depiction of Kahlo painting wanted to go to medical school. Frida Kahlo in 1919 Personality & Characteristics Life Story Life Story ● Kahlo was sociable and very interested in ● In 1929, she married Diego Rivera, who ● Kahlo became homesick, so they both politics. was famous for painting murals. moved back to Mexico City in 1933. ● She loved Mexican indigenous culture and ● They traveled a lot together around the ● They started to have troubles in their used it in her art and clothes. United States. marriage. Rivera had an affair with Kahlo’s sister, and he had also not wanted to However, she was very depressed and in a Her first art in an exhibition was a double ● ● move back to Mexico. lot of pain for most of her life.