DOCSLIB.ORG

Voices of Mexico /January • March, 1995 Much Has Been Written About

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Voices of Mexico /January • March, 1995 Much Has Been Written About Voices of Mexico /January • March, 1995 65 lived and where Frida addressed most comal [traditional Mexican griddle].... of her letters (which were always One day (and 1 don't want to brag about stamped "For immediate delivery"), as the thousands and thousands of well as in the aviation library or the anecdotes I know about Frida) I was home of very close friends. painting a mural for the Military Unfortunately none of Aguirre's letters Aviation Library, which was then have been found, although from one of located on Balbuena Street. Frida was Frida's we deduce that he did write her: helping me... today it's nothing but dust, (August 19, 1935) a memory amidst the nostalgia of what I I kepí your letter like a treasure am When Diego Rivera had to go to Much has been written about Frida —Your voice gave me the purest New York to talk with Rockefeller about Kahlo. Nevertheless, this volume of joy didn't know what to do- the mural he did, which was later previously unpublished letters, in her and 1 sat down to write this letter destroyed for reasons all of you know, own hand, helps reveal another of her which will be unable to tell you, Frida went with him. Scandalously facets. For Frida-followers this book is with my words, everything I beautiful Frida... I haven 't seen, heard a new delight. would like to say —everything you or read anything about Frida Kahlo. I Ignacio Aguirre was a novelist deserve for giving me so much! — knew her so well, I was so close to her in and engraver from Jalisco. From 1915 your beauty —your hands —you. her artistic work, her struggles and her (when he was only 15 years old) to I wish 1 could be so pretty for you! life, that I wouldn't want to change or 1917 he fought against Pancho Villa 1 wish I could give you all that upset the image I have retained of her. I as a member of the forces commanded which you have never had, and simply remain with the Frida I know, by Carranza. In 1920 he took up arms even so you wouldn 't know how who I looked at and listened to for again, in support of General Alvaro wonderful it is to be able to love many years. Obregón. From 1921 to 1929 he you. I will wait all the minutes Luis Mario Schneider's preface to worked in the Secretariat of until I can see you. Wait for me at Frida Kahlo & Ignacio Aguirre, Cartas Communications and the Office of the six fifteen on Wednesday —below, de una pasión provides the historical President of the Republic. in the big hallway of your house, context of this love affair and mentions At the same time he devoted because I think that 's easiest — the factors that may have begun and himself to art. He was one of the Call me tomorrow at six in the ended it. The book also includes founders of the League of afternoon; I just want to hear Kahlo's manuscript letters, together Revolutionary Writers and Artists in your voice, even if only for a with a typescript version of each one; 1933 and the People's Graphic moment. If you ca!! me, I will the images which María Esther Workshop in 1937. In 1940 he won gather many little flowers for you Velázquez Piña Aguirre gave the first prize in the Latin American and I will bring them to you on publishers, together with the letters; Engraving Exhibit at the World Fair in Wednesday, but if you don 't cal! and the full text of the lecture Ignacio New York, a city where he put on five me I will bring them to you Aguirre gave on his beloved Frida. exhibitions. He also showed his work anyway —so many that they could in Washington in 1942. make a garden on your chest — Marybel Toro Gayol. He was a friend of the photographer the color of humid earth. Managing Editor. Henri Cartier-Bresson, for whom he also The frogs are still singing for us posed as a model. A photo of him was —and our river is waiting —the Frida Kahlo: images even used for the cover of the catalogue chaste town is looking at the and Icons for the photography exhibition held at Great Bear constellation —and as New York's Museum of Modem Art for me —I love you. Frida Kahlo in 1987. While Ignacio Aguirre's letters to Sarah Lowe He painted several murals, and Frida Kahlo have not been found, the Universe Publishing the one he did in Mexico City for the testimony of his love and admiration New York: 1991, 128 pp. Military Aviation Library —destroyed remains in the lecture he gave on her when the building was demolished- in 1986, four years before his death: Frida Kahlo: The Camera Seduced bore witness to his love affair with Frida is the event of each day, Elena Poniatowska and Carla (essays) Frida Kahlo. with birds and flowers, forget-me-nots, Stellweg Chatto & Windus Ltd. Their liaisons were held at Puente pelicans, marigolds, the moisture of the London: 1992, 125 pp. de Alvarado No. 45, where Aguirre garden and the aroma of a burning 66 Voices of Mexico /January • March, 1995 Frida Kahlo continues to occupy the and Surrealism. She weaves in and out refreshing contrast to Sarah Lowe's limelight as a choice subject for of "isms," focusing on elements which position as a U.S.-trained art historian. journalists, curators and academics. could place Frida into a tidy Her essay is written as if Frida were Sarah Lowel looks at Frida from an art classification. Yet Kahlo's still-lifes the one expressing who she is and historian's perspective. Her book don't classify easily. Lowe is forced to what she feels. Having personally includes a short introduction, a conclude that Frida's work reflects her known Kahlo, I have fmally come brief biographical overview, a mexicanidad, that is her identity as across a text that is more like the Frida chronology and two main chapters: part of the Mexican Renaissance of I knew. The text flows, chock full of 1) The Self-Portraits and the 1920's and 30's. irreverence and humor, without 2) Surrealism, "Primitivism" and the Fruit, flowers and vegetables making light of the painful reality of Still-Life Tradition. reminiscent of vendors' arrangements the artist's body. Poniatowska alludes The book is designed carefully, in Mexican open-air markets are (on p. 20) to the collection of with color plates accompanying the redefined in terms of Surrealist photographs presented in the book: text describing a particular work of concepts and feminist convictions. Look at my face, look at my eyes, art. In addition to beautiful color Odorless camelias become "sweet much is written there, much is plates of Kahlo's paintings, there are smelling" (p. 107), as if they were hidden from view. My real self is also illustrations of related figures of gardenias. In the description of in my painting. I hate pity. codices, "ex votos" and other images, "Unos cuantos piquetitos" (A Few Carla Stellweg complements which the author uses to describe Little Stab Wounds), a painting Poniatowska's text and Kahlo's Frida's work. reminiscent of a José Guadalupe images with a biographical essay, Posada engraving about a crime, again including interpretations. Self-portraits Lowe inserts her own feminism: She writes: Lowe presents a conscientious Unlike surrealist art, which At the age offive, in a photograph analysis of each of the plates glamorized misogyny and in whose taken by her father, Frida strikes included in the book, although she visual images women are a seductive pose, resting her does not explain her rationale for portrayed with a stylized, sanitized round face with its dimpled chin including or excluding work. Her elegance, Kahlo's painting serves on her chubby arm. detailed descriptions educate the as an explicit reminder of the Mischievously she looks out at reader's eyes to notice details. The concrete reality of daily violence the photographer. narrative flows from the in women's lives (p. 86). The same image could project a identification of a particular The extensive analysis defiant or bored Frida, depending on technique to the names of artists who accomplishes the author's goal of the conclusions one wants to draw have done similar work in other placing Kahlo within the framework about her. periods of history. The dates and of art history, although the chapter artists mentioned span centuries might well have been called "Why The subjective volee and continents. Frida Kahlo Was/Wasn't a Surrealist." There is an old Mexican saying: There is a concerted effort to The material on "still-lifes" goes "Nothing is true and nothing false. It interpret Frida's work and draw beyond the careful classification of the all depends on the color of the lens conclusions relating to her self-portraits. Lowe asserts one looks through." Lowe looks at relationship with Diego Rivera, interpretations repeatedly, even Frida through the lens of a non- whom she married twice, and the assuming —when describing the Mexican feminist art historian. medica] problems she endured. Detroit painting Store Window, which Poniatowska, a Mexican journalist includes a portrait of George and novelist, presents her Surrealism, "Primitivism" and the Washington— that "It must have interpretations by speaking out for Still-Life Tradition amused her [Frida] to think of this Frida. Carla Stellweg presents her Sarah Lowe's skill as an art historian aristrocratic-looking man as interpretations as a foreign art curator is evident in this discourse on Frida America's great revolutionary hero." and journalist who lived in Mexico for many years.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Acquisitions Edited.Indd
    1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in.
    [Show full text]
  • INFORME ANUAL CORRESPONDIENTE AL ÚLTIMO SEMESTRE DEL 2013 Y PRIMER SEMESTRE DE 2014
    INFORME ANUAL CORRESPONDIENTE AL ÚLTIMO SEMESTRE DEL 2013 y PRIMER SEMESTRE DE 2014. Informe presentado por el Consejo Directivo Nacional de la Sociedad Mexicana de Autores de las Artes Plásticas, Sociedad De Gestión Colectiva De Interés Público, correspondiente al segundo semestre del 2013 y lo correspondiente al año 2014 ante la Asamblea General de Socios. Nuestra Sociedad de Gestión ha tenido varios resultados importantes y destacables con ello hemos demostrado que a pesar de las problemáticas presentadas en nuestro país se puede tener una Sociedad de Gestión como la nuestra. Sociedades homologas como Arte Gestión de Ecuador quienes han recurrido al cierre de la misma por situaciones económicas habla de la crisis vivida en nuestros días en Latinoamérica. Casos como Guatemala, Colombia, Honduras en especial Centro América, son a lo referido, donde les son imposibles abrir una representación como Somaap para representar a sus autores plásticos, ante esto damos las gracias a todos quienes han hecho posible la creación y existencia de nuestra Sociedad Autoral y a quienes la han presidido en el pasado enriqueciéndola y dándoles el impulso para que siga existiendo. Es destacable mencionar los logros obtenidos en las diferentes administraciones donde cada una han tenido sus dificultades y sus aciertos, algunas más o menos que otras pero a todas les debemos la razón de que estemos en estos momentos y sobre una estructura solida para afrontar los embates, dando como resultado la seguridad de la permanencia por algunos años más de nuestra querida Somaap. Por ello, es importante seguir trabajando en conjunto para lograr la consolidación de la misma y poder pensar en la Somaap por muchas décadas en nuestro país, como lo ha sido en otras Sociedades de Gestión.
    [Show full text]
  • 80 Aniversario Del Palacio De Bellas Artes
    INSTITUTO NACIONAL DE BELLAS ARTES Dirección de Difusión y Relaciones Públicas Subdirección de Prensa "2015, Año del Generalísimo José María Morelos y Pavón" México, D. F., a 31 de julio de 2015 Boletín Núm. 1009 La otra fiesta de las balas. Martín Luis Guzmán en el Museo de Arte Moderno Del 1 de agosto de 2015 al 31 de enero de 2016 Uno de los autores más representativos de la literatura en torno a la Revolución Mexicana, abogado y cronista fundamental del villismo La exposición, curada por Marisol Argüelles integra 58 obras entre pintura y dibujo así como poco más de 150 documentos originales del archivo personal de Martín Luis Guzmán, de la Comisión Nacional de Libros de Texto Gratuitos y Escuela Nacional de Danza “Nellie y Gloria Campobello”, entre otros. La exposición La otra fiesta de las balas. Martín Luis Guzmán es un proyecto del Museo de Arte Moderno (MAM) a partir de un interés por vincular su colección con la atmósfera intelectual dentro de la cual se desarrollaron artistas plásticos como Diego Rivera, Saturnino Herrán, Ángel Zárraga, Roberto Montenegro, Dr. Atl, Frida Kahlo, David Alfaro Siqueiros, José Clemente Orozco, Rosa Rolanda, Jesús Cabrera, Jorge González Camarena, Antonio Peláez, Angelina Beloff, Ignacio Aguirre, Jesús Castruita, Alberto Beltrán y Rufino Tamayo. Numerosos vínculos tuvieron la literatura y la plástica mexicana, no sólo por los afectos personales entre los autores, sino como parte del espíritu de una época en que se formaron grupos interdisciplinarios que coincidían lo mismo en una búsqueda estética que en los contenidos de sus obras. Paseo de la Reforma y Campo Marte S/N, Módulo A, 1er.
    [Show full text]
  • Ailar La Patria Y La Revolución
    AILAR BLA PATRIA Y LA REVOLUCIÓN Margarita Tortajada Quiroz La revolución mexicana cambió el rostro del país, del arte y la cultura. Los escenarios se llenaron de su “espíri- tu” y fueron un espacio donde se concretó a través de temá- ticas, personajes, danzas, música, decorados, vestuarios y máscaras. La lucha armada que buscaba la transformación Margarita Tortajada Quiroz es doctora en en todas las esferas también removió el imaginario social y ciencias sociales por la Universidad Au- el concepto de nación, que se manifestó en una búsqueda tónoma Metropolitana Xochimilco. En la del México verdadero, el que era original y diferente, el que actualidad es investigadora del Centro permitía ser “distinto” hacia afuera, pero que “unía” hacia el Nacional de Investigación, Documenta- ción e Información de la Danza (Cenidi interior. Danza), del Instituto Nacional de Bellas Artes. Ese sentimiento se convirtió en un nacionalismo febril, que recuperaba los colores, formas, cuerpos, movimientos, so- nidos, ritmos y realidades de lo “verdadero”: lo popular e indígena. Utilizando las nuevas técnicas artísticas, el nacio- nalismo cultural quedó plasmado en los murales de los gran- des de la plástica nacional, la música, la literatura, el teatro y la danza que buscaron en el “adentro” y el pasado para expresarlo al mundo y ser universales y modernos. Si bien la danza escénica, la que tiene vocación artística e implica una formación académica y disciplinaria, no parti- cipó de esa aventura en los primeros momentos de la lucha TIEMPO 56 CARIÁTIDE armada y la reconstrucción posrevolucionaria, sí tuvo una y otros artistas e intelectuales, esta síntesis implicaba retomar presencia brillante que no sólo la llevó a contribuir en la los conceptos y técnicas modernos, por un lado, y por otro, conformación de la ideología de la nación mexicana, sino las danzas y bailes populares e indígenas.
    [Show full text]
  • Oral History Interview with Herbert Palmer, 2004 Dec. 6-22
    Oral history interview with Herbert Palmer, 2004 Dec. 6-22 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Herbert Palmer on December 6 and 22, 2004. The interview took place at the Hebert Palmer Gallery in Los Angeles, California, and was conducted by Dr. Susan Ehrlich for the Archives of American Art, Smithsonian Institution. Dr. Susan Ehrlich and Mrs. Lillian Palmer have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview SUSAN EHRLICH: This is Susan Ehrlich interviewing Herbert Palmer at the Herbert Palmer Gallery [Est. 1963] in Los Angeles for the Archives of American Art, Smithsonian Institution. This is December 6, 2004, and this is tape one, side one. Herbert, let's go back to your background. Tell us where you were born, when you were born, and something about your family life, your early family life - you were born in New York in 1915. HERBERT PALMER: Brooklyn, New York, June 23, 1915. DR. EHRLICH: And your father - what did he do? MR. PALMER: My father was a - part of a company that did - sale of general merchandise. He started this company in New York. It was one of the first companies to sell merchandise on a time plan, before department stores did it.
    [Show full text]
  • Ernest Bloch
    “He was the musician as Old Testament prophet, whose speech was thunder and whose glance lightning, whose very presence proclaimed the divine fire by which, on occasion, a bystander might feel himself scorched.” ” Yehudi Menuhin, “Unfinished Journey” Ernest Bloch Composer in Photo by Walt Dyke Walt Photo by Nature’s University Photo by Lucienne Bloch, courtesy Old Stage Studios Editors Dr. Frank Jo Maitland Geltner, Dr. Alexander Knapp and members of Bloch family. Original 2005 version by Nancy Steinberg Ernest Bloch Legacy Project Economic Development Alliance of Lincoln County www.ernestbloch.org (July 2018) [email protected] Chronological List of Ernest Bloch’s Compositions 1923 Enfantines: Ten Pieces for Children, piano (Fischer) Compiled by Alexander Knapp from his “Alphabetical List of Bloch’s Published Five Sketches in Sepia: Prélude – Fumées sur la ville – Lucioles – Incertitude – and Unpublished Works” in Ernest Bloch Studies, co-edited by Alexander Knapp Epilogue, piano (Schirmer) Mélodie: violin and piano (Fischer) and Norman Solomon, Cambridge University Press, 2016. Night, string quartet (Fischer) The years shown indicate date of completion, not date of publication. Nirvana: Poem for Piano (Schirmer) Within each year, works are listed in alphabetical order. Paysages (Landscapes) – Three Pieces for String Quartet: North – Alpestre - *Unpublished work – manuscript extant. Tongataboo (Fischer) **Unpublished - manuscript lost. Piano Quintet No. 1 (Schirmer) 1924 From Jewish Life: Three Sketches for Violoncello and Piano (also
    [Show full text]
  • Historia, Cultura Y Aprendizaje Del Chino 2019
    CENTRCENTROO DE ESTUDIOS CENTRCENTROO DE ESTUDIOS CHINA-MEXICOA-MEXICO CHINA-MEXICOA-MEXICO UNIVERSIDAD NACIONAL AUTTOONOMANOMA DE MEXICO UNIVERSIDAD NACIONAL AUTTOONOMANOMA DE MEXICO América Latina y el Caribe - China Historia, cultura CENTRCENTROO DE ESTUDIOS CHINA-MEXICOA-MEXICO y aprendizaje UNIVERSIDAD NACIONAL AUTTOONOMANOMA DE MEXICO del chino 2019 a Red ALC-China, con los años y el esfuerzo de los colegas de LChina y del continente americano que comparten la pasión y el in- terés en generar conocimiento, da a luz su cuarta publicación, producto de las ponencias presentadas en el IV Seminario Internacional que se llevó a cabo en el mes de mayo de 2018 en la Universidad Nacional Autónoma de México. La naturaleza incluyente y muy diversificada de este eje temático, en- globada en su mismo título, está ampliamente reflejada en el abanico de textos sobre literatura, traducción, enseñanza del chino en el habla his- América Latina y el Caribe - China pana, la migración china y su influencia en América Latina y el Caribe a través de los siglos, etc. Historia, cultura Deseamos que está publicación contribuya a la comprensión de China, el gigante económico, político y cultural del siglo xxi. y aprendizaje del chino 2019 Liljana Arsovka Coordinadora América Latina y el Caribe - China 2019 del chino y aprendizaje cultura Historia, CENTRO DE ESTUDIOS CHINA-MEXICO UNIVERSIDAD NACIONAL AUTONOMA DE MEXICO América Latina y el Caribe - China Historia, cultura y aprendizaje del chino 2019 Liljana Arsovska Coordinadora Red Académica de América Latina y el Caribe sobre China Dr. Enrique Dussel Peters Coordinador General y Coordinador del eje temático Economía, comercio e inversión Dr.
    [Show full text]
  • Arturo García BUSTOS 1926–2017
    PINTOR — GRABADOR — MURALISTA Arturo García BUSTOS 1926–2017 Exposición–Homenaje, octubre 2017–marzo 2018, Ciudad de Guatemala 1 A u t o r i d a d e s Universidad de San Carlos de Guatemala Dr. Carlos Guillermo Alvarado Cerezo Rector Dr. Carlos Enrique Camey Rodas Secretario General Ing. Álvaro Folgar Portillo Director General Extensión Universitaria M.S.c. Gladys Elizabeth Barrios Ambrocy Coordinadora Museo de la Universidad de San Carlos –"#$%&– T e x t o s Maestra Rina Lazo Wasem Maestro Roberto Cabrera † Las obras que ilustran esta publicación son del maestro Arturo García Bustos F o t o g r a f í a Archivo Familiar García Lazo De colección: Elio Morales Edson Lozano Carlos Mendoza C o l a b o r a c i ó n Maestra Rina Lazo Wasem Rina García Lazo Valentina Maxil Pérez Isauro Uribe Pineda Hemeroteca Nacional P o r t a d a Fotografía: Francisco Kochen I m p r e s i ó n Editorial Universitaria D i s e ñ o y d i a g r a m a c i ó n Carla Miranda y personal del %&'() 2da. edición 2da. 2 Arturo García Bustos (1926–2017) Presentación ay artistas de una gran trayectoria que irradian humildad y paz en su for- Hma de ser, que los hace inolvidables. Uno de ellos es el pintor, grabador y muralista mexicano Arturo García Bustos, a quien conocí en su residencia en 1981 junto a su compañera de vida, la maestra Rina Lazo, brindándome su amistad y cariño. En esta oportunidad, hemos organizado una Exposición– Homenaje como un reconocimiento a su sencilla y dulce personalidad y en agradecimiento a la con/ anza hacia nuestra institución cultural.
    [Show full text]
  • The Forgotten Man: the Rhetorical Construction of Class and Classlessness in Depression Era Media
    The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media A dissertation presented to the faculty of the College of Arts of and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Lee A. Gray November 2003 @ 2003 Lee A. Gray All Rights Reserved This dissertation entitled The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media By Lee A. Gray has been approved for the Individual Interdisciplinary Program and The College of Arts and Sciences by Katherine Jellison Associate Professor, History Raymie E. McKerrow Professor, Communication Studies Leslie A. Flemming Dean, College of Arts and Sciences Gray, Lee A. Ph.D. November 2003. History/Individual Interdisciplinary Program The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media (206 pp.) Co-Directors of Dissertation: Katherine Jellison and Raymie McKerrow The following study is an analysis of visual and narrative cultural discourses during the interwar years of 1920-1941. These years, specifically those of the 1930s, represent a significant transitional point in American history regarding cultural identity and social class formation. This study seeks to present one profile of how the use of media contributed to a mythic cultural identity of the United States as both classless and middle-class simultaneously. The analysis is interdisciplinary by design and purports to highlight interaction between visual and oral rhetorical strategies used to construct and support the complex myths of class as they formed during this period in American history. I begin my argument with Franklin D.
    [Show full text]
  • La Revolución Mexicana
    Media Contact Rachel Trevino, Head of Communications and Marketing (o) 210.805.1754 (c) 210.854.8889 [email protected] La Revolución Mexicana: 100 Years Later Marks Centennial of the Mexican Revolution with Works of Art From One of the Greatest Living Mexican Printmakers Exhibition on View at McNay Art Museum through November 24 San Antonio, TX (August 29, 2019) – Opening today at McNay Art Museum, La Revolución Mexicana: 100 Years Later marks the centennial of the end of the Mexican Revolution (1910-1920) with a spotlight on Michoacan printmaker Artemio Rodriguez. His portfolio of 18 linoleum block prints created in 2010 to mark the 100-year anniversary of the beginning of the Mexican Revolution is on view together for the first time at the McNay. The brilliantly contrasting black and white linocuts include portraits of prominent figures on both sides of the struggle. The artist’s portrait of dictator Porfirio Díaz and the Eurocentric nature of his rule strikingly contrasts the portrait of the great revolutionary leader, Emiliano Zapata, on horseback in rural Mexico with small farms and mountains in the background. “Many Mexican families fleeing the violence of the Revolution came to San Antonio and surrounding areas in search of safety,” said Lyle Williams, McNay Curator of Prints and Drawings. “San Antonio’s ties to the Mexican Revolution run very deep, and the exhibition is timed to be on view during the city’s Diez y Seis celebrations in September.” Complementing Rodriguez’s portfolio are prints from the McNay’s extensive collection of portraits of Zapata by Diego Rivera, Melanie Cervantes, Ignacio Aguirre, Sarah Jiménez, Francisco Mora, José Clemente Orozco, Luis "Teak" Rodriguez, and David Alfaro Siqueiros.
    [Show full text]
  • Bellas Artes, Núm. 6, 1957
    UNQUE menos conocido, este aspecto del grabado en México ofrece igualmente un indiscutible interés. El primer grabado de este tiempo representa un cometa que fue visto en la ciudad de Puebla por un astrónomo aficionado, en la primera mitad del siglo XVIII. Después, el grabado periodístico con función informativa ofrece a los lectores una imagen obje­ tiva de la pirámide de El Tajín, descubierta casual­ mente por un fiscal de las haciendas del tabaco, a fines del siglo XVIII. Reproduce los tipos de mons­ truos que aparecen en varios lugares del país. Sirve EL DESPOJO Y la angustia. DISTINTAS personalidades para los muchos aspectos de México. para explicar' cómo se reproduce e industrializa la cochinilla, etc. La introducción de la litografía en México, en el primer tercio del siglo XIX, por el italiano Claudio Linati, da un impulso nuevo a la técnica de la re­ UN GRAN ARTE AL SERVICIO DE producción gráfica. La revista Iris, en 1836, inicia con una carica­ .-------------------------------------------------------------------------------. tura litografiada una tradición de estampa satírica, política y de costumbres, que ha de prolongarse a lo largo de todo el siglo XIX en revista tan importan­ tes como La Orquesta, El Ahuizote, El Hi;o del Ahuizote, El Rascatripas, Historia Danzante, etc., en las cuales se distinguen los grandes diblljantes: Escalante, Villasana, Iriarte, Hernández. Caso aparte, la revista Don Bullebulle, de Yuca­ tán, consagrada particularmente a la crítica de cos­ tumbres, se convierten en tribuna de uno de los gra­ badores más originales del siglo pasado: (~abriel ,------------------------------------------------------------------------------ Gahona, conocido por Picheta . En esa época, aparecen álbumes litogndiados como México y sus alrededores y Monumentos de México.
    [Show full text]