Preliminary Finding Guide for the Shifra Goldman Papers CEMA 119 1960S - 2000S
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An Art Exhibition of Cuban Art
Diálogo Volume 7 Number 1 Article 13 2003 Endurance on the Looking Glass: an Art Exhibition of Cuban Art Egberto Almenas-Rosa Follow this and additional works at: https://via.library.depaul.edu/dialogo Part of the Latin American Languages and Societies Commons Recommended Citation Almenas-Rosa, Egberto (2003) "Endurance on the Looking Glass: an Art Exhibition of Cuban Art," Diálogo: Vol. 7 : No. 1 , Article 13. Available at: https://via.library.depaul.edu/dialogo/vol7/iss1/13 This Article is brought to you for free and open access by the Center for Latino Research at Via Sapientiae. It has been accepted for inclusion in Diálogo by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Endurance on the Looking Glass: an Art Exhibition of Cuban Art Cover Page Footnote This article is from an earlier iteration of Diálogo which had the subtitle "A Bilingual Journal." The publication is now titled "Diálogo: An Interdisciplinary Studies Journal." This article is available in Diálogo: https://via.library.depaul.edu/dialogo/vol7/iss1/13 ENDURANCE ON THE LOOKING GLASS: AN ART EXHIBITION OF CUBAN ART by Egberto Almenas-Rosa “The unknown is almost our only tradition” -José Lezama Lima In the late 60s the noted Cuban author Gabriel Cabrera colonial outpost soon troubled by invasions, piracy, Infante squalled a most revealing pun when an brigandage, illegal trade, misgovernment, and the interviewer asked him why all the people from the internecine grudges that emanated from the Caribbean look alike. "It is not that all the Caribbean long-stretched institutions of servitude, this type of unity people look alike," he said; "it is that all the Caribbean came in handy. -
Artecontexto, Arte, Cultura Y Nuevos Medios Núm. 14, 2007
ARTE CULTURAR NUEVOS MEDIOS A TECONTEX ARTTO CULTURE NEW MEDIA Dossier = ARTE Y LITERATURA: DERIVAS DE LA FICCIÓN / ART AND LITERATURE: DÉRIVES OF FICTION ( J.M. BONET • J. S. CÁRDENAS • E. VILA-MATAS • C. AIRA • B. S. JOHNSON • M. BELLATIN • L. VaLENCIA ) CARLOS PAZOS • JOSEPH KOSUTH • FEMINIST FUTURE • Cibercontexto + Info + Libros / Books + Críticas / Reviews - 2007 / 2 MEDIA W NE CULTURE ARTE CULTURA NUEVOS MEDIOS - 2007 / 2 ART TO X TECONTE R A Editora y Directora / Director & Editor: Colaboran en este número / Contributors in this Issue: Alicia Murría Juan Manuel Bonet, Juan Sebastián Cárdenas, Enrique Vila-Matas, Benjamin S. Johnson, Mario Bellatín, / 14 Coordinación en Latinoamérica Leonardo Valencia, Luis Francisco Pérez, Santiago B. Olmo, Latin America Coordinators: Alicia Chillida, Rubén Bonet, Chema González, Brian Curtin, Argentina: Eva Grinstein David Liss, Eva Grinstein, Filipa Oliveira, Mónica Núñez Luís, Alicia Murría, Uta M. Reindl, Mariano Navarro, Joana Neves, México: Bárbara Perea INDEX Asún Clar, Francisco Baena, José Ángel Artetxe, Rosa Queralt, Equipo de Redacción / Editorial Staff: Rosa Pera, Bea Espejo, Juan Vicente Aliaga, Natalia Maya, Alicia Murría, Natalia Maya Santacruz, Isabel Tejeda, Pedro Medina. Santiago B. Olmo. [email protected] Especial agradecimiento / Special thanks: A Juan Sebastián Cárdenas por su trabajo en la elaboración de este dossier. Asistente editorial / Editorial Assistant: Natalia Maya Santacruz SUMARIO / Directora de Publicidad / Advertising Director: ARTECONTEX TO Marta Sagarmínaga [email protected] ARTECONTEXTO arte cultura nuevos medios es una publicación trimestral de ARTEHOY Publicaciones y Gestión, S.L. Directora de Relaciones Internacionales Impreso en España por Técnicas Gráficas Forma International Public Relations Manager: Producción gráfica: El viajero / Eva Bonilla. -
La Pintura Mural Mexicana
La pintura mural mexicana En las culturas prehispánicas mesoamericanas se realizaron extraordinarias pinturas murales como las de Cacaxtla en Tlaxcala y las mayas de Bonompak (en México), que conmemoran pasajes bélicos, junto a sus protagonistas, exquisitamente ataviados. En el siglo XX, la resurrección de la pintura mural se debió principalmente a tres artistas mexicanos: Diego Rivera, José Clemente Orozco y David Alfaro Siqueiros, quienes, desde 1920, trabajaron en distintas ciudades de la República Mexicana, de Estados Unidos y en algunos países de América Latina. Diego Rivera es el iniciador de la escuela mexicana de pintura mural, en la que destacan como grandes figuras José Clemente Orozco y David Alfaro Siqueiros. La intención era llevar a través; de la pintura, la enseñanza de la Historia de México, con sus hechos y personajes. Su obra la constituyen composiciones de vivos colores, que conmemoran la rebelión del pueblo contra los sistemas opresivos, la formación del mestizaje por la unión entre indígenas americanos y españoles, el pasado histórico y la proyección al futuro, la naturaleza humana con sus contradicciones, y, en síntesis, la búsqueda de la esencia humana y su trascendencia hacia la divinidad, todo ello dentro de un marco de monumentalidad. La pintura mural es uno de los aspectos más destacados del arte mexicano del siglo XX, además de una manifestación única en la época en que se produce. Muchos muralistas mexicanos han usado su arte para promocionar ideas políticas. De esta forma se decoraron edificios gubernamentales, bibliotecas, hospitales y escuelas en México y en otros países. Murales de México Justo Fernández López http://www.hispanoteca.eu El muralismo mexicano – 1920-1950 Al terminar el periodo revolucionario en México, en 1920, fue elegido presidente M. -
José Perotti Ronzzoni José Perotti Ronzzoni
1 José Perotti Ronzzoni José Perotti Ronzzoni José Perotti Ronzzoni nació el 8 de Junio de 1898 en Santiago, Chile y murió el 22 de junio de 1956 en la misma ciudad. Biografía José Luis Perotti Ronzzoni nació el 8 de junio de 1898 en Santiago, Chile. Desarrolló tempranamente sus habilidades en dibujo y el interés por el trabajo manual, en la escuela primaria. Esto le permitió ingresar en 1913 como alumno libre al taller de fundición de la Escuela de Bellas Artes. Posteriormente, en 1917, se incorpora formalmente y se integra al curso de escultura a cargo de Virginio Arias . En 1920 viaja a España para integrarse a la Academia de Bellas Artes de San Fernando, en Madrid, gracias a la obtención de una beca otorgada por el Estado chileno para estudiar en Europa. Allí tuvo como profesores a Miguel Blay (1866-1936) en escultura, a Joaquín Sorolla (1863-1923) en pintura y a Julio Romero de Torres (1874-1930) en dibujo de ropaje. En 1921 se trasladó a París, donde estudió en la Academia de la Grande Chaumière con el escultor Antoine Bourdelle (1861-1929) y asistió, junto a Camilo Mori , a los cursos libres y vespertinos de dibujo de la Academia Colarossi. Al regresar a Chile, en 1923 fundó junto a Luis Vargas Rosas , Henriette Petit y Julio Ortiz de Zárate el Grupo Montparnasse , el cual realiza ese mismo año su primera exposición, en Santiago. Esta muestra se considera como el acontecimiento que señala la introducción en el medio local de los lenguajes artísticos modernos y de los movimientos de vanguardia parisinos de la época. -
2020-2021 Newsletter Department of Art History the Graduate Center, Cuny
2020-2021 NEWSLETTER DEPARTMENT OF ART HISTORY THE GRADUATE CENTER, CUNY 1 LETTER FROM THE EXECUTIVE OFFICER Dear GC Art History Community, The 2020-21 academic year has been, well, challenging for all of us at the GC, as I imagine it has for you. The building—boarded up in November for the elections—is still largely off-limits to students and faculty; the library is closed; classes and meetings have been almost exclusively virtual; and beyond the GC, many of us have lost friends, family, or jobs due to the pandemic and its repercussions. Through it all, we have struggled to keep our community together and to support one another. I have been extraordinarily impressed by how well students, faculty, and staff in the program have coped, given the circumstances, and am I hopeful for the future. This spring, we will hold our rst in-person events—an end-of-year party and a graduation ceremony for 2020 and 2021 Ph.D.s, both in Central Park—and look forward to a better, less remote fall. I myself am particularly looking forward to fall, as I am stepping down as EO and taking a sabbatical. I am grateful to all of you for your help, advice, and patience over the years, and hope you will join me in welcoming my successor, Professor Jennifer Ball. Before getting too excited about the future, though, a few notes on the past year. In fall 2020, we welcomed a brave, tough cohort of ten students into the Ph.D. Program. They have forged tight bonds through coursework and a group chat (not sure if that's the right terminology; anyway, it's something they do on their phones). -
Estudio Sobre Recubrimientos Industriales Para La Conservación De Paneles De Fibrocemento Empleados En Pintura Mural
Microscopía óptica de alta resolución (MOAR). Imagen: ©María Isabel López Arvizu. Materiales fabriles como recurso plástico: estudio sobre recubrimientos industriales para la conservación de paneles de fibrocemento empleados en pintura mural María Isabel López Arvizu,* Nora Ariadna Pérez Castellanos,** Sandra Joyce Ramírez Muñoz,*** Daniel Meléndez García,**** Alejandro Mitrani Viggiano,***** Lauro Bucio Galindo***** y Aline Moreno Núñez*** *Escuela de Conservación y Restauración de Occidente **Instituto de Investigaciones Estéticas Universidad Nacional Autónoma de México ***Centro Nacional de Conservación y Registro del Patrimonio Artístico Mueble Instituto Nacional de Bellas Artes y Literatura ****Coordinación Nacional de Conservación del Patrimonio Cultural Instituto Nacional de Antropología e Historia *****Instituto de Física Universidad Nacional Autónoma de México Resumen Entre los años 1960 y 1970, sobre todo en México, el fibrocemento o asbesto cemento fue un material utilizado por importantes muralistas como Messeguer, Benedetto, Flores y Siqueiros. El reto de conservación de este tipo de soporte 43 radica en las problemáticas derivadas de su manufactura y del riesgo a la salud que representa una vez deteriorado; por ello, se consideró pertinente el estudio de materiales que, además de fungir como recubrimientos de protección y cohesión, fueran accesibles en el ámbito comercial. El objetivo de este artículo es presentar un estudio en el que se evaluaron los cambios ocurridos en los materiales usados para conservar paneles de fibrocemento -
Catalina Parra
LUDLOW 38 Curatorial Residencies 38 Ludlow Street · New York 10002 · ☎ +1 212 228 6848 · [email protected] CATALINA PARRA May 22 – June 26, 2011 Reception for the artist: Sunday May 22, 1-6pm MINI/Goethe-Institut Curatorial Residencies Ludlow 38 is pleased to announce a solo show by Catalina Parra. For this exhibition Parra has selected works made between 1969 and today, stemming from extended periods in Germany, Chile, Canada and the United States. The exhibition opens with a series of crayon drawings executed by Parra at the beginning of her career near Lake Constance, Germany. Also presented are early collages and photographs including material that led to Parra’s contribution for Manuscritos (1975), the fi rst publication of art criticism after the Chilenean military coup of 1973. Relying on a variety of media including drawing, collage and fi lm, Parra has demonstrated an extraordinary sensibility towards the socio-political affairs that take place around us. As artist Coco Fusco outlined in a 1991 essay that was published in the catalogue for Parra’s solo show at the Intar Gallery, Parra “concentrates on the process of coming to terms with information that connotes something different than what it denotes.” With an aesthetic awareness that draws parallels to the work of Hannah Höch and John Heartfi eld, the artist repeatedly begins her constructions from newspaper advertisements to create hand-sewn collages and mixed media works. Her newspaper collages are executed in series form, each series containing multiple variations. The exhibition at Ludlow 38 features pieces from a number of these series including Coming your way (Banff, 1994), The Human touch (1989) and Here, there, everywhere (1992). -
Good Neighbor Cultural Diplomacy in World War II
Good Neighbor Cultural Diplomacy in World War II: The Art of Making Friends Darlene J. Sadlier, Indiana University, USA In August 1940, President Franklin D. Roosevelt named Nelson A. Rockefeller to head the Office of the Coordinator of Inter-American Affairs (CIAA), a new federal agency whose main objective was to strengthen cultural and commercial relations between the U.S and Latin America, in particular Brazil, in order to route Axis influence and secure hemispheric solidarity. On November 7, 1940, just months after the CIAA‘s inception, Robert G. Caldwell and Wallace K. Harrison, Chairman and Director, respectively, of the agency‘s Cultural Relations Division, received written approval for twenty-six special projects at a cost of nearly one-half million dollars.i The most expensive, at $150,000, was an Inter-American exhibit of art and culture under the direction of the MoMA, to be held simultaneously with parallel exhibits in capital cities throughout the Americas.ii Two hundred fifty-five U.S. paintings were curated by the MoMA in conjunction with other major museums, and in April 1941, these were previewed at the Metropolitan Museum of Art in New York. Portions of the large exhibit then toured eight South American republics, Mexico and Cuba for close to a year, beginning with an exposition at Mexico City‘s Palacio de Bellas Artes in June.iii The emphasis was on modern art and included paintings by Georgia O‘Keefe, Thomas Hart Benton, Edward Hopper, Stuart Davis, Loren MacIver, Eugene Speicher, Peter Hurd and Robert Henri, among others. A file in the MoMA archive has valuations of all the paintings at the time, the highest valued being George Bellows‘s Dempsey and Firpo and Georgia O‘Keefe‘s The White Flower at $25,000 each. -
Cartelera Cultural Octubre 2011
CARTELERA CULTURAL OCTUBRE 2011 OFICIALÍA MAYOR Dirección General de Promoción Cultural, Obra Pública y Acervo Patrimonial SECRETARÍA DE HACIENDA Y CRÉDITO PÚBLICO Ernesto Cordero Arroyo Secretario de Hacienda y Crédito Público Luis Miguel Montaño Reyes Oficial Mayor José Ramón San Cristóbal Larrea Director General de Promoción Cultural, Obra Pública y Acervo Patrimonial José Félix Ayala de la Torre Director de Acervo Patrimonial Fausto Pretelin Muñoz de Cote Director de Área Edgar Eduardo Espejel Pérez Subdirector de Promoción Cultural Rafael Alfonso Pérez y Pérez Subdirector del Museo de Arte de la SHCP Juan Manuel Herrera Huerta Subdirector de Bibliotecas María de los Ángeles Sobrino Figueroa Subdirectora de Control de Colecciones Museo de Arte de la SHCP Antiguo Palacio del Arzobispado www.hacienda.gob.mx/museo Galería de la SHCP www.hacienda.gob.mx/museo Biblioteca Miguel Lerdo de Tejada www.hacienda.gob.mx/biblioteca_lerdo Palacio Nacional www.hacienda.gob.mx/palacio_nacional CONTENIDO 4 24 35 36 39 MUSEO DE ARTE OBRAS DE LAS GALERÍA RECINTO DE FONDO HISTÓRICO DE LA SHCP COLECCIONES DE LA SHCP HOMENAJE A DON DE HACIENDA Antiguo Palacio SHCP Guatemala 8, BENITO JUÁREZ ANTONIO del Arzobispado En otros museos Centro Histórico Palacio Nacional, ORTIZ MENA Moneda 4, Segundo Patio Mariano Palacio Nacional Centro Histórico 39 40 42 45 FONDO HISTÓRICO PALACIO BIBLIOTECA CENTRO CULTURAL DE HACIENDA NACIONAL MIGUEL LERDO DE LA SHCP ANTONIO Plaza de la DE TEJADA Av. Hidalgo 81, ORTIZ MENA Constitución s/n República de Centro Histórico Palacio Nacional Centro Histórico El Salvador 49 MUSEO DE arte DE la SHCP • ANTIGUO Palacio DEL arzobispado • Moneda 4 , Centro Histórico NI MUERTO MALO, NI NOVIA FEA PINTURA, DIBUJO, ARTE OBJETO, INSTALACIÓN, FOTOGRAFÍA Y ESCULTURA Público en General SEDE: MUSEO Y GALERÍA DE ARTE DE LA SHCP INAUGURACIÓN: 18 DE OCTUBRE, 19:00 HRS. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
Grand Canyon, Zion and Sedona Experience”
1 2 Inverarte Art Gallery presents Jorge Obregon “Grand Canyon, Zion and Sedona Experience” Opening and Artist Reception, Wednesday, October 17th, 2018 On view October 17th, 2018 through January 9th, 2019 Inverarte Art Gallery 923 N Loop 1604 E Ste 103, San Antonio, TX 78232 Contact +1 210-305-6528 mail: [email protected] Mon - Thu 10:00 to 19:00 Fri - Sat 10:00 to 17:00 www.inverarteartgallery.com Grand Canyon, Zion, and Sedona Experience “Grand Canyon, Zion and Sedona Experience,” this could be the title showed not only the landscape, but they also included the buildings and of an adventure movie or a documentary, but in this case, it is the name of people who populated those places. Therefore those paintings were more this exhibition which consists of 18 paintings made by Jorge Obregon in than artworks but also historical testimonies of the landscape and customs his latest expedition. But looking back at it, why not, it is also the name of of that time. However, it was not until 1855, with the arrival to Mexico of the this catalogue that narrates a little of the history of such excellent artist, as Italian painter Eugenio Landesio, as a landscape and perspective professor well as his participation and relationship with the history of art in Mexico. at the Academy of San Carlos, that landscape painting truly began in Mexico. Moreover, it presents us a movie in slow motion, meaning, frame by frame, Eugenio Landesio had several excellent disciples, but the most outstanding about his adventure through the Colorado Plateau. -
Finding Aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154
Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154 Finding aid updated by Meghan Jordan, June 2016 AG 154: Lola Alvarez Bravo Archive, 1901-1994 - page 2 Lola Alvarez Bravo Archive, 1901-1994 AG 154 Creator Bravo, Lola Alvarez Abstract Photographic materials (1920s-1989) of the Mexican photographer Lola Alvarez Bravo (1903 [sometimes birth date is recorded as 1907] -1993). Includes extensive files of negatives from throughout her career. A small amount of biographical materials, clippings, and publications (1901-1994) are included. The collection has been fully processed. A complete inventory is available. Quantity/ Extent 32 linear feet Language of Materials Spanish English Biographical Note Lola Álvarez Bravo was born Dolores Martínez de Anda in 1903 in Lagos de Moreno, a small city in Jalisco on Mexico's Pacific coast. She moved to Mexico City as a young child, after her mother left the family under mysterious circumstances. Her father died when she was a young teenager, and she was then sent to live with the family of her half brother. It was here that she met the young Manuel Alvarez Bravo, a neighbor. They married in 1925 and moved to Oaxaca where Manuel was an accountant for the federal government. Manuel had taken up photography as an adolescent; he taught Lola and they took pictures together in Oaxaca. Manuel also taught Lola how to develop film and make prints in the darkroom.