DOCSLIB.ORG

Gunther Gerzso: Chronology; Bibliography; Exhibitions; Filmography; and Scenography Amy J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gunther Gerzso: Chronology; Bibliography; Exhibitions; Filmography; and Scenography Amy J Chapman University Chapman University Digital Commons Art Faculty Books and Book Chapters Art 2003 Gunther Gerzso: Chronology; Bibliography; Exhibitions; Filmography; and Scenography Amy J. Buono Chapman University, [email protected] Follow this and additional works at: https://digitalcommons.chapman.edu/art_books Part of the Ethnic Studies Commons, Latin American Languages and Societies Commons, Latina/o Studies Commons, and the Painting Commons Recommended Citation Buono, Amy J. “Gunther Gerzso: Chronology; Bibliography; Exhibitions; Filmography and Scenography." In Risking the Abstract: Mexican Modernism and the Art of Gunther Gerzso, edited by Diana C. Du Pont, 296-323. Santa Barbara: Santa Barbara Museum of Art, 2003. This Book is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Books and Book Chapters by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. RISKING THE' ABSTRACT: MEXICAN MODERNISM A:ND THE ART OF .GUNTHER·· GEi .. ·• SO "{ · 1 DIANA C. DU PONT WITH CO NTRI BU TIONS BY LUIS-MARTIN LOZANO CUAUHTEMOC MEDINA EDUARD O DE LA VEGA ALFARO SANTA BARBARA MUSEUM OF ART RISKING THE ABSTRACT: MEXICAN MODERNISM AND THE ART OF GUNTHER GERZSO TH IS CATALOGUE WAS PUBLISHED IN CONJUNCTION WITH TH E EXHIB IT ION RISK ING THE ABSTRACT: MEXICAN MODERNISM AND THE ART OF GUNTHER GERZSO, W HIC H WAS ORGAN IZED BY THE SANTA BARBARA MUSEUM OF ART IN COOPERATION W ITH THE CONSEJO NAC IONAL PARA LA CU LTURA Y LAS ARTES, TH ROUGH THE INS TITUTO NACIONA L DE BELLAS ARTES AND THE MUSEO DE AR TE MODERNO, MEXICO . TH E CATA LOGUE AND EXH IBITION WERE MADE POSS IBLE THROUGH THE GENEROUS SUPPORT OF : CHARL ES A . STORKE THE CHEERYBLE FOUNDATION JON 8. AND LILLIAN LOVELACE Ell AND LEATRI CE LURI A THE GRACE JONES RICHARDSON TRUST LARRY AND ASTRID HAMMETT HOUSTON AND ANNE HARTE SANTA BARBARA BANK & TRUST THE J. PAUL GETTY GRANT PRO GRAM THE CHALLENGE FUND THE CAPITAL GROUP THE SANTA BARBARA MUSEUM OF ART WOMEN'S BOARD THE NATIONAL ENDOWMENT FOR THE HUMANITIE S THE SANTA BARBARA MUSEUM Of ART VI SIONARIE S EX HIBITION ITINERARY : SANTA BARBARA MUSEUM OF AR T. JULY 12- 0CTOBER 19, 2003 . MUSED DE ARTE MODERNO, MEX ICO CITY, NOVEMBER 12. 2003- FEBRUARY 22. 2004 MEXICAN FINE ARTS CENTER MUSEUM. CH,iCAGO, MARC H 19 - JUNE 27. 2004 SANTA BA RBAR A MU SEUM OF ART , 1130 STATE STREE T, SANTA BARBARA. CALIFORN I A 93 101 , AC A DEMI C ADVISORS: DR JEAN FRANCO, LUIS -MARTIN LOZANO, AND DR . EDWARD J SULL IVAN CURATORI AL ASSI STANT: ALISA PETT I DESIGNER : DAN IELA" ROCHA EDITORI AL COORDINATION : LUCINDA GUTI ERREZ EDITOR: DAWN HAL L COPYEDITOR : DEBRA NAGAO ENGLISH TRANSLATIONS OF ESSAYS BY EDUARDO DE LA V EGA A LFARO, LUIS-MARTIN LOZANO, AND CUAUHHMOC MEDINA ARE BY CARO LI NA CLARK SANDOVAL LAYOUT: ANA DE LA SERNA AND SUSANA GUZMAN DE BLAS . PRINTIN G: A RTES GRAFICAS PALERMO, MADRID, SPAIN BINDING : HERMANOS RAMOS, MADR ID, SPAIN , COPYRIGHT © 2003 BY THE SANTA BARBARA MUSEUM OF ART / DIANA C. DU PONT ALL RIGHTS RESERVED NO PA RT OF TH IS PUBLICATION MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY M EANS, ELEC TRON IC OR MECHAN ICAL, INCLUDING PHOTOCOPYING, RECORDING, OR ANY INFOR M ATION STORAGE AND RETRIEVAL SYS­ TEM, WITHOUT WR ITTE N PERMISS ION FROM TH E PUBLISHER PUBLISHED BY THE SANTA BARBARA MUSEUM OF ART IN ASSOCIATION W ITH OGE EQU ILIBR ISTA / TURN ER DISTRIBUTED TH ROUG H OAP/DISTRIBUTED ART PUBLISHERS, INC. LIBRARY OF CONGRESS CATA LOGUING-IN -PUBLI CATION DATA : DU PONT, DIANA C. RISKING THE ABSTRACT· MEXICAN MODERNISM AND THE ART OF GUNTHER GERZSO I DIANA C. DU PONT; WITH CON TRIBUT IONS BY LUIS·MARTIN LOZANO, CUAUHTEMOC MEDINA, AND EDUARDO DE LA VEGA ALFARO CM CATA LOGUE OF A TRAV ELING EXHIB ITION HELD AT SANTA BARBARA MUSEUM OF ART AND OTHER VENUES BEGINN ING SUMMER 2003 INCLUDES BIBLIOGRAPHICAL REFERENCES 1 GERZSO, GUNTHER. 19 15- 2000- EX HIBIT IONS Z. GERZSO. GUNTH ER, 1915- 2000- CRITICISM AND INTERPRETATION . 3 . PAINT ING, ABSTRACT- MEXICO. 4 MODERNISM (ART)- MEXICO I. LOZANO, LUIS-MAR TiN 11 MEDINA, CUAUHT[MOC 111 VEGA ALFARO, EDUARDO DE LA IV GERZSO, GUNTHER, 1915-2000 V SAN TA BARBARA MUSEUM OF ART, VI. TITLE N6SS9.G4 7D8 2003 709' .2-Dc2 1 2003042693 . COV ER : GUNTHER GERZSO, lES TEMPS MANGE lA VIE/EL TIEMPO SE COME A LA VIDA (T IME EA TS AWAY LIFE). 196 1, OIL ON MASONITE. 18 x 25 1/4 IN (46 " 64 CM), SANTA BARBARA MUSEUM OF ART, MUSEUM PURCHASE WITH FUNDS PROVIDED BY JON B. AND LILLIAN LOVELACE. Ell AND LEATRICE LURIA. THE GRAC E JONES RICHARDSON TRUST. AN ANONYMOUS DONOR, LORD AND LADY RIDLEY- TREE, SBMA M ODERN AND CONTEMPO RARY ART ACQUISITION FUND, THE ALA STORY FUND, AND THE SBMA VISIONARIES, 2002.50 (D ET A IL, PL. 62) GUNTHER GER ZS O IMAGES © GENE CADY GERZSO, ANDREW GERZSO, AND MICHAEL GERZSO REPRODUCTION S OF All WORKS BY GUNTHER GERZSO AS WELL AS PHOTOGRAPHS FROM THE GERZSO STUDIO AND FAM ILY ARCHIVES ARE AUTHORIZED BY GENE CADY GERZSO, ANDREW GER ZSO. AND MICHAEL GERZSO . PERM ISSION ACKNOWLEDGEMENTS AND PHOTOGRAP HY CRED ITS FOR THE PLATE S AND TEXT ILLUSTRATIONS ARE FOUND ON PAGE 334 , CLOTH ISBN 8 4-7S06- 544-9 PAP ER ISBN B4 -7S 06- S8S -6 0.L. : M . 29 .880-2003 CHRONOLOGY AMY J. BUONO I / 1915 Gunther Gerzso is born in Mexico City, on June 17, five years after the start of the Mexican Revolution. His father, Oscar Gerzso, ofJewish ori­ GUNTHER GERZSO'S MOTHER I GUNTHER GERZSO'S FATHER I gin, moved from Budapest, Hungary, to Mexico City DORE WENDLAND GERZSO OSC AR GERZSO in the 1890s, during a period of active emigration from Europe. He became successful as an import­ export merchant. Gerzso's mother, Dore Wendland, 1922-24 Ludwig, Dore, and the children spend Gerzso later described this house as "a veritable art a singer and pianist from Berlin, immigrated to two years in Europe. Gerzso is seven years old at museum." Mexico in 1906. the start of this first European sojourn. Gerzso attends excellent schools, taught in Gerzso's parents met during one of Oscar By the time Gerzso and his family return to German-Swiss and Italian-Swiss, and is pressed to Gerzso's annual business trips to Europe. On his Mexico, the muralist movement is well underway. behave like an adult. Discouraged from developing return voyage, Oscar was introduced to Dore and The post-Revolutionary Mexican government of friendships with children his own age, he rebels. the two soon married. Of Dore's eight siblings, two Alvaro Obregon initiates and sponsors the paint­ He cuts classes and plays with the children of sisters become artists and one older brother will be ing of murals in churches, schools, libraries, and laborers working near his uncle's estate, or he slips an art historian and an art collector-dealer; the public buildings. away to the movies. As a last resort, Gerzso's aunt older brother will later play a fundamental role in 1927 Dore ends her marriage with Ludwig, who and uncle hire a German tutor to assist their nephew Gerzso's artistic education. suffers from alcoholism. As a result of his mother in his studies. T his also proves unsatisfactory, so 1916 Oscar Gerzso dies prematurely of a cerebral and stepfather's divorce, Gerzso is sent to southern they eventually send him to a French-Swiss school hemorrhage in Mexico City. Gunther Gerzso is six Switzerland at age twelve ro live with his uncle, Dr. in Lausanne, where, at last, he reports being happy months old. Hans Wendland, and his wife who offer ro direct with friends his own age. 1917 Dore Gerzso marries another German busi­ Gerzso's education and make him their heir. An In 1929, at the age of fourteen, Gerzso is given nessman, Ludwig Diener, who with his brother extremely influential presence for much ofGerzso's Le Corbusier's book, Vers une architecture (Towards owns a jewelry srore in Mexico City. Located in La life, Dr. Wendland serves as a father figure, men­ a New Architecture, 1923), as a Christmas present. Perla (The Pearl) building, at the corner of Calle tor, and educator. An art historian, art dealer, and Madero and Motolinfa. Ludwig's store is renowned art collector, he was a pupil of Heinrich Wolffiin, in its day. The family lives above the shop, in an the famous Swiss art historian, and like him be­ apartment on the fourth floor. Gerzso's half-sister, came a specialist in Northern Renaissance art. Dore Diener, is born. 1927- 31 Gerzso lives with his uncle near Lugano The family soon moves to the fashionable on a large estate with extensive vineyards, a Renais­ Condesa district of Mexico City where they live in sance monastery, and a monk's cemetery. During the European-sryled Edificio Condesa. Gerzso's this period, Gerzso receives his only formal artistic mother hosts extravagant parties on Sundays for training, living for five years surrounded by out­ Ludwig Diener's extended family and his business standing works of art ranging from the ancient to associates. Among Ludwig's friends is the photogra­ the modern periods, with a particular emphasis on pher Guille_rmo Kahlo, the father of Mexican mod­ Old Master paintings. Dr. Wendland is especially ernist painter Frida Kahlo fond of works by fifteenth- and sixteenth-century Gerzso's nanny, Estefana, an indigenous Northern European artists, including Konrad woman from Texcoco, has a critical impact on his Witz, Martin Schongauer, and Jan and Hubert van upbringing.
Load more

Recommended publications
  • Gordon Onslow Ford Voyager and Visionary
    Gordon Onslow Ford Voyager and Visionary 11 February – 13 May 2012 The Mint Museum 1 COVER Gordon Onslow Ford, Le Vallee, Switzerland, circa 1938 Photograph by Elisabeth Onslow Ford, courtesy of Lucid Art Foundation FIGURE 1 Sketch for Escape, October 1939 gouache on paper Photograph courtesy of Lucid Art Foundation Gordon Onslow Ford: Voyager and Visionary As a young midshipman in the British Royal Navy, Gordon Onslow Ford (1912-2003) welcomed standing the night watch on deck, where he was charged with determining the ship’s location by using a sextant to take readings from the stars. Although he left the navy, the experience of those nights at sea may well have been the starting point for the voyages he was to make in his painting over a lifetime, at first into a fabricated symbolic realm, and even- tually into the expanding spaces he created on his canvases. The trajectory of Gordon Onslow Ford’s voyages began at his birth- place in Wendover, England and led to the Royal Naval College at Dartmouth and to three years at sea as a junior officer in the Mediterranean and Atlantic fleets of the British Navy. He resigned from the navy in order to study art in Paris, where he became the youngest member of the pre-war Surrealist group. At the start of World War II, he returned to England for active duty. While in London awaiting a naval assignment, he organized a Surrealist exhibition and oversaw the publication of Surrealist poetry and artworks that had been produced the previous summer in France (fig.
    [Show full text]
  • 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.
    [Show full text]
  • The Emergent Decade : Latin American Painters and Painting In
    a? - H , Latin American Painters and Painting in trie 1'960's THE - -y /- ENT Text by Thomas M. Messer Artjsts' profiles in text and pictures by Cornell Capa DEC THE EMERGENT DECADE THE EMERGENT DECADE Latin American Painters and Painting in the 1960's Text by Thomas M. Messer Artists' profiles in text and pictures by Cornell Capa Prepared under the auspices of the Cornell University Latin American Year 1965-1966 and The Solomon R. Guggenheim Museum > All rights reserved First published 1966 Library of Congress Catalog Card Number: 66-15382 Design by Kathleen Haven Printed in Switzerland bv Buchdruckerei Winterthur AG, Winterthur CONTENTS All text, except where otherwise indicated, is by Thomas M. Messer, and all profiles are by Cornell Capa. Foreword by William H. MacLeish ix Acknowledgments xi Introduction xm Brazil Correspondence: Thomas M. Messer and Marc Berkowitz 3 Primitive Art 16 Profile: Raimundo de Oliveira 18 Uruguay Uruguayan Painting 29 Argentina Correspondence: Thomas M. Messer and Samuel Paz 35 Profile: Rogelio Polesello and Martha Peluffo 48 Expatriates: New York 59 Profile: Jose Antonio Fernandez-Muro 62 Chile Profile: Ricardo Yrarrazaval 74 Correspondence: Thomas M. Messer and Jorge Elliott 81 Peru Correspondence: Thomas M. Messer and Carlos Rodriguez Saavedra 88 Profile: Fernando de Szyszlo 92 Colombia Correspondence: Thomas M. Messer to Marta Traba 102 Profile: Alejandro Obregon 104 Correspondence: Marta Traba to Thomas M. Messer 1 14 Venezuela Biographical Note: Armando Reveron 122 Living in Painting: Venezuelan Art Today by Clara Diament de Sujo 124 Correspondence: Thomas M. Messer to Clara Diament de Sujo 126 Expatriates: Paris 135 Profile: Soto 136 Mexico Profile: Rufino Tamayo 146 Correspondence: Thomas M.
    [Show full text]
  • Sonja Sekula's Time May Have Finally Come
    PETER BLUM GALLERY Sonja Sekula’s Time May Have Finally Come Sekula was part of a number of different overlapping scenes, and she was loved and thought highly of by many. And then nearly everything about her and her work got forgotten. GALLERIES | WEEKEND By John Yau Saturday April 29, 2017 Sonja Sekula (1918-1963) piqued my curiosity when I first saw some of her works just a few months ago. Still, I was not sure what to expect when I went to the current exhibition Sonja Sekula: A Survey at Peter Blum Gallery (April 21 – June 24, 2017). I had known that this troubled, Swiss-born artist was part of an international circle of artists, writers, choreographers, and composers in New York in the 1940s, when she was in her early twenties, and that since her death by suicide in 1963, she and her work have largely been effaced from history. But aside from a few biographical facts and the handful of works I saw, I knew little else, but it was more than enough to bring me back. Ethnique, (1961), gouache on paper, 20 1/8 x 20 1/8 inches (all images courtesy Peter Blum At one point, while circling the Gallery, New York) galleries two space for the second or third time, I stopped to peer into a vitrine and saw photographs of a young woman sitting in the apartment of Andre Breton when he lived in New York during World War II. In another photograph she and sister are hugging Frida Kahlo, who is recuperating in a New York hospital room.
    [Show full text]
  • Cronología Gunther Gerzso
    EXPOSICIONES INDIVIDUALES 1950 Galería de Arte Mexicano. México, D.F. 1954 Galería de Arte Mexicano. México, D.F. 1956 Galería de Antonio Souza. México, D.F. 1958 Galería de Antonio Souza. México, D.F. SALÓN DE ARTE MEXICANO. Museo Nacional de Arte Moderno, Instituto Nacional de Bellas Artes. México, D.F. 1961 Galería de Antonio Souza. México, D.F. 1963 GUNTHER GERZSO, EXPOSICIÓN RETROSPECTIVA. Instituto Nacional de Bellas Artes. México, D.F. GUNTHER GERZSO, EXPOSICIÓN RETROSPECTIVA. Museo Nacional de Arte Moderno. México, D.F. 1964 Museo de Arte Moderno. México, D.F. 1967 GUNTHER GERZSO. Faire Internationale d'Art Contemporain. Grand Palais. París, Francia. 15 OBRAS DE GUNTHER GERZSO. Instituto Cultural Mexicano Israelí. México, D.F. 1969 SALÓN INDEPENDIENTE 69. Salón Independiente. México, D.F. NUEVAS ADQUISICIONES. Museo de Arte Ponce. Ponce, Puerto Rico. 1970 GUNTHER GERZSO: RETROSPECTIVE EXHIBITIONS. Phoenix Art Museum. Phoenix, AZ, EUA. GUNTHER GERZSO: RETROSPECTIVE EXHIBITIONS. Museo de Arte Moderno. México, D.F. TWENTY YEARS OF GUNTHER GERZSO. Phoenix Art Museum. Phoenix, AZ, EUA. GUNTHER GERZSO: DIBUJOS Y PINTURAS. Museo de Arte Moderno, Instituto Nacional de Bellas Artes. México, D.F. 1976 GUNTHER GERZSO: PAINTINGS AND GRAPHICS REVIEWED. University of Texas Art Museum. Austin, TX, EUA. 1977 GUNTHER GERZSO. Museo de Arte Moderno, Instituto Nacional de Bellas Artes. México, D.F. 1981 GUNTHER GERZSO: RETROSPECTIVA. Museo de Monterrey. Monterrey, NL., México. DEL ÁRBOL FLORIDO: 14 SERIGRAFÍAS INSPIRADAS EN POEMAS PREHISPÁNICOS. Galería Arvil. México, D.F. 1982 VEINTICUATRO OBRAS. Mary-Anne Martin/Fine Art Gallery. Nueva York, NY, EUA. VEINTICUATRO OBRAS. Galería de Arte Mexicano. México, D.F.
    [Show full text]
  • Modelos De Gestión De Galerías De Arte Contemporáneo
    COLEGIO DE HUMANIDADES Y CIENCIAS SOCIALES LICENCIATURA EN ARTE Y PATRIMONIO CULTURAL “Modelos de gestión de galerías de arte contemporáneo en la ciudad de México” TRABAJO RECEPCIONAL PARA OBTENER EL TÍTULO DE LICENCIADO EN ARTE Y PATRIMONIO CULTURAL PRESENTA: ABEL MATUS VERDUZCO Directora del trabajo recepcional: Mtra. Brenda Judith Caro Cocotle México, D.F., junio 2012 SISTEMA BIBLIOTECARIO DE INFORMACIÓN Y DOCUMENTACIÓN UNIVERSIDAD AUTÓNOMA DE LA CIUDAD DE MÉXICO COORDINACIÓN ACADÉMICA RESTRICCIONES DE USO PARA LAS TESIS DIGITALES DERECHOS RESERVADOS© La presente obra y cada uno de sus elementos está protegido por la Ley Federal del Derecho de Autor; por la Ley de la Universidad Autónoma de la Ciudad de México, así como lo dispuesto por el Estatuto General Orgánico de la Universidad Autónoma de la Ciudad de México; del mismo modo por lo establecido en el Acuerdo por el cual se aprueba la Norma mediante la que se Modifican, Adicionan y Derogan Diversas Disposiciones del Estatuto Orgánico de la Universidad de la Ciudad de México, aprobado por el Consejo de Gobierno el 29 de enero de 2002, con el objeto de definir las atribuciones de las diferentes unidades que forman la estructura de la Universidad Autónoma de la Ciudad de México como organismo público autónomo y lo establecido en el Reglamento de Titulación de la Universidad Autónoma de la Ciudad de México. Por lo que el uso de su contenido, así como cada una de las partes que lo integran y que están bajo la tutela de la Ley Federal de Derecho de Autor, obliga a quien haga uso de la presente obra a considerar que solo lo realizará si es para fines educativos, académicos, de investigación o informativos y se compromete a citar esta fuente, así como a su autor ó autores.
    [Show full text]
  • Latin American Literary Review
    Latin American Literary Review Goldwin Smith Hall, Cornell University • Ithaca, NY 14853 • 607-255-4155 Volume 45 / Number 90 2018 E-mail: [email protected] • Website: www.lalrp.net De ultramodernidades y sus contemporáneos. By Luis Rebaza y una obra artística y performativa en que lo nacional se inserta en Soraluz. Lima: Fondo de Cultura Económica, 2017. 384 páginas. lo universal. Como arriba he sugerido, más que como movimiento Como un “descenso al subsuelo” y una “contracción al interior” evolutivo, esta periodización funciona como aparato metodológico (346) describe Luis Rebaza Soraluz el resultado de la construcción para leer las formas cómo artistas peruanos participaron en los de un modernismo peruano contemporáneo, desde la década de debates del modernismo y buscaron localizar lo específicamente los veinte hasta finales del siglo pasado,. A través de un amplio peruano en estos. Cada capítulo del libro encuadra un momento recorrido por tradiciones y géneros artísticos, debates intelectuales y un espacio de esta búsqueda, tomando como objeto de estudio y un corpus que incluye novelas, poesía, cartas, ensayos, la producción ensayística y estética de cada artista dentro del artículos en revistas y performances, De ultramodernidades y sus más amplio entramado modernista. En el primer capítulo, el contemporáneos examina las maneras en que lo nacional deviene autor indaga en la participación de Abril y Westphalen en una un aspecto constitutivo en el proyecto estético de un grupo red de revistas modernistas (“Small Magazines”, en términos de de artistas peruanos que busca inscribirse en una modernidad Ezra Pound), escritas desde el exilio durante los veinte y treinta, cultural global.
    [Show full text]
  • André Breton Och Surrealismens Grundprinciper (1977)
    Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8...............................................................................................................................................
    [Show full text]
  • Frida Kahlo I Diego Rivera. Polski Kontekst
    Polski kontekst I Polish context SPIS TREŚCI TABLE OF CONTENTS 9—11 7 Jacek Jaśkowiak 135—148 Helga Prignitz-Poda Prezydent Miasta Poznania I President of the City of Poznań Diego Rivera – prace I Diego Rivera – works Gdyby Frida była wśród nas… I If Frida were among us… 187—187 Helga Prignitz-Poda 19—19 Alejandro Negrín Nickolas Muray Ambasador Meksyku w Polsce I Ambassador of Mexico to Poland Frida Kahlo i Diego Rivera w Polsce: uniwersalizm kultury meksykańskiej 195—195 Ariel Zúñiga Frida Kahlo and Diego Rivera in Poland: the Universal Nature of Mexican Art O Bernice Kolko… I On Bernice Kolko… x1— 13 Anna Hryniewiecka 211—211 Dina Comisarenco Mirkin Dyrektor Centrum Kultury ZAMEK w Poznaniu I Director of ZAMEK Culture Centre in Poznań Grafiki Fanny Rabel (artystki w wieku pomiędzy sześćsetnym Frida. Czas kobiet I Frida. Time of Women i dwutysięcznym rokiem życia) I Graphic works by Fanny Rabel (artist between 600 and 2000 years of age) 17—17 Helga Prignitz-Poda Frida Kahlo i Diego Rivera. Polski kontekst. Sztuka meksykańska w wymianie kulturowej 135—224 Diego Rivera Frida Kahlo and Diego Rivera. Polish context. Mexican Art in Cultural Exchange O Fanny Rabel I About Fanny Rabel 17— 52 Elena Poniatowska 135—225 Frida Kahlo o Fanny Rabel, sierpień 1945 Frida Kahlo Frida Kahlo about Fanny Rabel, August 1945 0 53—53 Diego Rivera 227—227 Helga Prignitz-Poda Frida Kahlo i sztuka Meksyku I Frida Kahlo and Mexican Art Kolekcja prac z Wystawy sztuki meksykańskiej z 1955 roku w zbiorach Muzeum Narodowego w Warszawie I Works from the 1955 Exhibition
    [Show full text]
  • 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.
    [Show full text]
  • Historia De Mujeres Artistas En México Del Siglo Xx
    Mónica Castillo, Autorretrato como cualquiera, 1996 – 1997, óleo sobre tela, 80 x 70 cm HISTORIA DE MUJERES ARTISTAS EN MÉXICO DEL SIGLO XX ÍNDICE Presentación 3 Contexto La mujer en la historia 4 Presencia femenina en el arte 5 Ejes temáticos 7 Mujeres artistas en México. (fragmentos) 12 Una constelación de implacables buscadoras Germaine Gómez Haro Punto de Fuga (fragmentos) 16 Pura López Colomé Artistas 20 Glosario 39 Links 40 Departamento de Educación 2 PRESENTACIÓN El reconocimiento de la presencia de mujeres artistas en la historia del arte ha permitido que los contenidos, los modos de interpretación y las categorías de análisis se transformen, se especifiquen, y al mismo tiempo, se expandan: las reflexiones teóricas y prácticas se han diversificado cada vez más, desde los temas y conceptos hasta los medios por los que se expresan los artistas; permitiendo, así, las relecturas y re-significados de las obras. Historia de mujeres es una exposición que reconoce la colaboración de las mujeres artistas mexicanas, quienes aportaron con sus particulares puntos de vista a la historia del arte nacional e internacional. Así, la exposición muestra tres generaciones de creadoras a lo largo del siglo XX: La primera generación son las artistas nacidas a principios del siglo que se distinguieron por un trabajo de gran calidad técnica, como Angelina Beloff, Tina Modotti, Frida Kahlo, Remedios Varo, etc. La segunda generación incluye a las que nacieron alrededor de los años 20 y 30, como Lilia Carrillo, Joy Laville, Helen Escobedo, Marta Palau y Ángela Gurría; ellas iniciaron una etapa de experimentación en las nuevas tendencias.
    [Show full text]
  • A Promenade Trough the Visual Arts in Carlos Monsivais Collection
    A Promenade Trough the Visual Arts in Carlos Monsivais Collection So many books have been written, all over the world and throughout all ages about collecting, and every time one has access to a collection, all the alarms go off and emotions rise up, a new and different emotion this time. And if one is granted access to it, the pleasure has no comparison: with every work one starts to understand the collector’s interests, their train of thought, their affections and their tastes. When that collector is Carlos Monsiváis, who collected a little bit of everything (that is not right, actually it was a lot of everything), and thanks to work done over the years by the Museo del Estanquillo, we are now very aware of what he was interested in terms of visual art in the 20th Century (specially in painting, illustration, engraving, photography). It is only natural that some of the pieces here —not many— have been seen elsewhere, in other exhibitions, when they were part of the main theme; this time, however, it is a different setting: we are just taking a stroll… cruising around to appreciate their artistic qualities, with no specific theme. This days it is unusual, given that we are so used to looking for an overarching “theme” in every exhibition. It is not the case here. Here we are invited to partake, along with Carlos, in the pleasures of color, texture, styles and artistic schools. We’ll find landscapes, portraits, dance scenes, streetscapes, playful scenes. All executed in the most diverse techniques and styles by the foremost mexican artist of the 20th Century, and some of the 21st as well.
    [Show full text]