Alice Rahon CV 2020
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Morton Subastas SA De CV
Morton Subastas SA de CV Lot 1 CARLOS MÉRIDA Lot 3 RUFINO TAMAYO (Quetzaltenango, Guatemala, 1891 - Ciudad de México, 1984) (Oaxaca de Juárez, México, 1899 - Ciudad de México, 1991)< La casa dorada, 1979 Mujer con sandía, 1950 Firmada a lápiz y en plancha Firmada Mixografía 97 / 100 Litografía LIX / LX Procedencia: Galería del Círculo. Publicada en: PEREDA, Juan Carlos, et al. Rufino Tamayo Catalogue Con documento de la Galería AG. Raisonné Gráfica / Prints 1925-1991, Número 32. México. Fundación Olga y "Un hombre brillante que se daba el lujo de jugar integrando todos los Rufino Tamayo, CONACULTA, INBA, Turner, 2004, Pág. 66, catalogada 32. elementos que conocía, siempre con una pauta: su amor a lo indígena que le dio Impresa en Guilde Internationale de l'Amateur de Gravures, París. su razón de ser, a través de una geometría. basado en la mitología, en el Popol 54.6 x 42.5 cm Vuh, el Chilam Balam, los textiles, etc. Trató de escaparse un tiempo (los treintas), pero regresó". Miriam Kaiser. $65,000-75,000 Carlos Mérida tuvo el don de la estilización. Su manera de realizarlo se acuñó en París en los tiempos en que se cocinaban el cubismo y la abstracción. Estuvo cerca de Amadeo Modigliani, el maestro de la estilización sutil, y de las imágenes del paraíso de Gauguin. Al regresar a Guatemala por la primera guerra mundial decide no abandonar el discurso estético adopado en Europa y más bien lo fusiona con el contexto latinoamericano. "Ningún signo de movimiento organizado existía entonces en nuestra América", escribe Mérida acerca del ambiente artístico que imperaba a su llegada a México en 1919. -
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. -
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. -
Daniel Garza Usabiaga 2011 Arara – No.10, 2011 1
© Daniel Garza Usabiaga 2011 André Breton, Surrealism and Mexico, 1938-1970. A Critical Overview. Daniel Garza Usabiaga Discussions about the relation between Surrealism and Mexico are numerous. Most of them, nevertheless, have been centered on a limited time span that starts with André Breton’s visit to the country in 1938 and continues with the experience of several surrealists in exile during the Second World War. 1 There are also instances which examine specific cases such as Antonin Artaud’s travel in 1936, the production of Wolfgang Paalen during his years in Mexico or Georges Bataille’s conceptualizations on Pre-Columbian cultures. 2 Fewer attempts exist that try to evaluate the impact of Breton’s visit and of the International Exhibition of Surrealism of 1940 in the local cultural context. 3 What all these varied perspectives attest to is, in the end, the complex and many faceted set of relations that exist between Surrealism and Mexico. This paper will revise the relation between André Breton, Surrealism and Mexico within a broader time span than is usually employed when discussing this theme (1930-1970). The reason for this is twofold. First, a reading of Breton’s 1938 visit 1 Most publications on the history of Surrealism when discussing Mexico and Surrealism are limited to this temporal frame. A publication that makes a more detailed analysis of this theme is Martica Sawin, Surrealism in Exile and the Beginning of the New York School. Cambridge: MIT Press, 1995, pp. 250-287 2 The most comprehensive publication which deals with Surrealism in Mexico from the reception of the first Manifesto to 1950, including Artaud’s and Breton’s visit as well as the activities of Breton and Paalen in the country, is Luis Mario Schneider’s book México y el surrealismo (1925- 1950) . -
Frida Kahlo - Connections Between Surrealist Women in Mexico 27Th September to 10Th January
Frida Kahlo - connections between surrealist women in Mexico 27th september to 10th january Curated by researcher Teresa Arcq, Frida Kahlo: connections between surrealist women in Mexico exhibition, with some 100 works by 16 artists, reveals how an intricate network with numerous characters was set up around the figure of Frida Kahlo (July 6, 1907, Coyoacán, Mexico - July 13, 1954, Coyoacán, Mexico). This extract focuses especially women artists born or living in Mexico, acting as the protagonists - alongside Kahlo – of powerful productions, such as Maria Izquierdo, Remedios Varo and Leonora Carrington. Throughout her life, Frida Kahlo painted only 143 screens. In this exhibition, rare and unique in Brazil, about 20 of them have been put together, in addition to 13 works on paper – nine drawings, two collages and two lithographs -, providing the Brazilian public with a broad overview of her plastic thinking. Her strong presence further pervades the exhibition through the works of other participating artists who depicted her iconic figure. Through photography, the works of Lola Álvarez Bravo, Lucienne Bloch and Kati Horna are to be highlighted. Images of Frida are also impregnated on the lenses of Nickolas Muray, Bernard Silberstein, Hector Garcia, Martim Munkácsi and a lithograph by Diego Rivera, Naked (Frida Kahlo), 1930. Among Mexican women artists related to Surrealism, the abundance of symbolic self- portraits and portraits come out as a surprise. Out of the 20 paintings by Frida in this exhibition, six are self-portraits. There are two more of her paintings that bring her presence, as in El abrazo de amor del Universo, la terra (Mexico), Diego, yo y el senõr Xóloti, 1933, and Diego em mi Pensamiento, 1943, plus a lithograph, Frida y el aborto, 1932. -
Alice Rahon Alice Rahon
ALICE RAHON ALICE RAHON Born 1904 Chenecey-Buillon, France Died 1987 Mexico City, Mexico Alice Rahon, photograph by Walter Reuter, n/d “In earliest times painting was magical; it was the key to the invisible. In those days the value of a work lay in its powers of conjuration, a power that talent alone could not achieve. Like the shaman, the sibyl, and the wizard, the painter had to make himself humble, so that he could share in the manifestation of spirits and forms.” Alice Rahon, 1951 Exhibition catalogue, Willard Gallery, New York, 1951 Le femme qui neige, 1945 Oil and sand on canvas board 9 7/8 x 7 7/8 inches (25.1 x 20 cm) $95,000 Untitled, 1960 Oil and sand on canvas board 18 x 24 inches (45.7 x 61 cm) $175,000 A Flower for Angela (A Tribute to Angela Davis), c. 1975 Mixed media on canvas 21 5/8 x 13 3/4 inches (55 x 35 cm) $95,000 Androgyne, 1946 Wire marionette 26 x 11 x 1 inches (66 x 28 x 2.5 cm) $125,000 Byblos, 1963 Oil on canvas 27 1/2 x 67 inches (69.9 x 170.2 cm $400,000 Alice Rahon: Poetic Invocations, installation view, Museum of Contemporary Art, North Miami, Miami, FL, November 26, 2019 – March 29, 2020, photography: Daniel Bock Pictured: Androgyne and Byblos Untitled, n/d Assemblage with painted wood, olive snail shells, natural fibers, feathers, sand, beads, and iron alloy tacks 22 x 4 x 11 1/2 inches (55.9 x 10.2 x 29.2 cm) $65,000 Thunderbird, 1946 Oil on canvas 12 5/8 x 39 inches (32.1 x 99.1 cm) $350,000 Alice Rahon: Poetic Invocations, installation view, Museum of Contemporary Art, North Miami, Miami, FL, November -
Valentine Penrose and Alice Rahon Paaien by Georgiana MM
CORE Metadata, citation and similar papers at core.ac.uk Provided by Modern Languages Publications Archive Through An Hour-giass Lightly: Valentine Penrose and Alice Rahon Paaien by Georgiana M M Colvüe Unik - Pourquoi Breton ûouvet-ii colossal de demander l’avis de la femme? Breton -Parce que ce n’est pas de mise. Unik - Le contraire peut n’être pas de mise. Breton - Je m’en fous. La Révolution Surrèalìsíe (1928)’ Clandestine de rêves je deviens cette inconnue qui passe ei ne sait plus appartenir je dérobe la mémoire je démasque j’outrepasse je suis d’une dernière colère Héhe Marcotte (1 988)’ What of the woman poet? What doesfdid she want? Why is she so hard to ñnd, so rarely mentioned by the critics, ancient or modem? After reminding us that: ‘Platon n’accorde pas droit de cité au pokte,” Blaise Cendrars, in a 1914 poem about the poet’s position in life, leaves ‘woman’llafemme’ suspended in mid-text, traversed by a long reference to the Nietzschean dauce: La femme, la danse que Nietzsche a voulu nous apprendre à danser La femme Mais l’ironie? Today Cendrars’ daughg image evokes the uncertah, neglected position of the woman poet. Sara Miiis appropriately titied a recent article on Gertrude Stein ‘No Poetry for Ladies“ a phrase taken fiom James Joyce (but, irony?) applied to ‘this poeiry for (and by) ladies and perhaps unfit for ladies’ (Mills, p.87). In Alicia Ostnker’s words, in tum borrowed from Hélène Cixous and Claudine Hermann, ‘Women miters have always tried to steal the language.” There is no lack of poetry by women, at any period, in any culture, as the various anthologies of women poets which grew out of the women’s movements of the 1970s have shown. -
Margarita Nelken
Capítulo I: DATOS BIOGRÁFICOS 1. INFANCIA Y JUVENTUD. Margarita Nelken nació en el seno de una familia judía radicada en Ma- drid, aunque de origen extranjero, en parte centroeuropeo y en parte franco- sefardí. Son pocos los datos que conocemos de sus ascendientes paternos. Su pa- dre, el joyero Julio Nelken Waldberg, nació el 11 de agosto de 1860 en Bres- lau, capital de la Baja Silesia, en el suroeste de Polonia, a la sazón pertenecien- te al Imperio Alemán. Era hijo de Michel Nelken (nacido en Kalish, Polonia, y fallecido en Berlín, antes de 1894) y de Pauline Waldberg (oriunda de Lem- berg, Ucrania, y que moriría en Berlín, en 1918). A tenor de sus declaraciones en el padrón madrileño, Julio Nelken debió de llegar a la Villa y Corte entre los años 1886 y 188818. Por entonces, la rama materna llevaba algunos años instalada en la capital de España. Su madre, Juana Mansberger y León, era hija de un relojero nacido en Hungría, Enrique Mansberger Klein (Szegedin, 27 de mayo de 1837- Madrid, 1909), y de Ángela León y León (Bayona, 9 de febrero de 1852- Madrid, 1925), francesa proveniente de una familia sefardí de Bayona. Al tiempo de nacer Juana Mansberger en Anglet, el 13 de octubre de 1873, sus padres residían ya en Madrid, desde 1866 y 1871-2, respectivamente19. Enrique Mansberger trabajaba como relojero de Palacio desde el reinado de Alfonso XII. Y parece ser que, al llegar Julio Nelken a Madrid, ambos se asociaron en un negocio de joyería y relojería, situado en el número 15 de la Puerta del Sol, en cuya entreplanta residía la familia Mansberger. -
CéSar Moro Papers
http://oac.cdlib.org/findaid/ark:/13030/kt300032sh No online items Finding Aid for the César Moro Papers, ca. 1925-1987, (bulk ca. 1925-1956) Jennifer Osorio Finding Aid for the César Moro 980029 1 Papers, ca. 1925-1987, (bulk ca. 1925-1956) Descriptive Summary Title: César Moro papers Date (inclusive): 1854-1997 (bulk 1925-1956) Number: 980029 Creator/Collector: Moro, César, 1903-1956 Physical Description: 8 Linear Feet(12 boxes, 1 flat file folder) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: The papers of Peruvian Surrealist poet and artist César Moro include notebooks, drafts of poems, manuscripts of articles, personal diaries, exhibition catalogs, photographs, and correspondence with a number of other artists of the era, including André Coyné, Benjamin Péret, Paul Éluard, Leonora Carrington, Wolfgang Paalen, and Rufino Tamayo. Also included are two collages by Moro, a watercolor by Alice Rahon [Paalen], an etching by Wolfgang Paalen, and several works by patients with mental illness at the Hospital Larco Herrera, where Moro taught art. The collection also includes books and journals from Moro's personal library. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in Spanish and French. Biographical/Historical Note César Moro was born Alfredo Quíspez Asín on August 19, 1903 in Lima, Peru. He changed his name in 1923 to that of a character in a story by Spanish writer Ramón Gómez de la Serna. -
Museu Experimental El Eco, De Mathias Goeritz: Um Intervalo No Tempo
MUSEU EXPERIMENTAL EL ECO, DE MATHIAS GOERITZ: UM INTERVALO NO TEMPO ADRIANA CAROLINA BROILO Adriana Carolina Broilo UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL FACULDADE DE ARQUITETURA PROGRAMA DE PESQUISA EM PÓS-GRADuaÇÃO EM TEORIA, HISTÓRIA E CRÍTIca DA ARQUITETURA Museu Experimental El Eco, de Mathias Goeritz: um intervalo no tempo Dissertação de Mestrado em Teoria, História e Crítica da Arquitetura Linha de Pesquisa Arquitetura brasileira e cultura disciplinar. Levantamento e análise da produção arquitetônica brasileira e seus elos com a cultura disciplinar global, com ênfase na produção moderna e seus desenvolvimentos latino-americanos. Orientadora Profª. Drª. Claudia Piantá Costa Cabral Porto Alegre 2015 “Por seres tão inventivo E pareceres contínuo Tempo, tempo, tempo, tempo És um dos deuses mais lindos Tempo, tempo, tempo, tempo” Oração ao Tempo - Caetano Veloso agRADECIMENTOS Dedico esse trabalho à minha mãe, Inez, a quem agradeço pelo exemplo de dedicação e vontade em ensinar e aprender. Ao meu pai, Reni, que me ensinou que “o saber não ocupa espaço”. Aos meus irmãos, Adriano e Alexandre, com quem aprendi a somar e dividir amor. Ao Guilherme Dable pela confiança e incentivo, pela dedicação ao projeto gráfico desse trabalho, pela amizade que nos anima, pelo amor que nos une e pela arte na arquitetura da nossa vida. A Claudia Cabral pela orientação, estímulo e contribuições. A Rosita Borges, infalível na secretaria do PROPAR, pela gentileza, disposição e sorriso generoso. Aos colaboradores do México, arquiteto Victor Jiménez, que gentilmente me recebeu, compartilhou seu tempo, sabedoria e arquivos, e pela paciência com meu portunhol. Ao arquiteto Juan Pablo Maza, pela atenção, informações e arquivos. -
Paalen in Exile in Mexico
Seite 1 Reihe: Wolfgang Paalen Autor: Christian Kloyber Datum: 2019 Paalen in Exile in Mexico Christian Kloyber May 1942 marked the publication of the first issue of DYN, the art and culture magazine founded by Wolfgang Paalen. This coincided, not unintentionally, with Mexico’s entry into the Second World War; as a leitmotif, Paalen contributed the following remarks to its preface: “All totalitarian tyrannies banished modern art. They are right. For as a vital stimulus to imagination, modern art is an invaluable weapon in the struggle for freedom.”i After the Japanese attack on Pearl Harbor (on December 6 and 7, 1941) and the USA’s declaration of war on Japan, Germany, and Italy, Mexico abandoned its neutrality and entered the conflict in May 1942. From 1939, the year of his arrival in Mexico, Wolfgang Paalen’s view of the world had changed. The external political circumstances of the war were not the only factor to contribute to this. His personal relationships and the understanding previously shared with his Surrealist fellow travelers appeared to break down, or rather, were broken by Paalen himself. He wrote: “In the darkest hour of the night, prudent friends counsel, if not howling with the wolves, contorting the face into a grimace, as if preparing to do so. The moment has not yet come, they say. On the contrary! This special moment has arrived, but not for howling with the wolves; now is the time for doing what is right and necessary.”ii With that, Paalen consciously withdrew and, from his exile in Mexico, he searched for new contacts. -
Unión De Intelectuales Españoles. Año II, Núm. 3-4, Febrero-Mayo De
Unión dv Intelvctnnles Españolas m r m n a w M s Año II • Feb.—Mayo 1957 • Av. MORELOS, 26 • Méxú MEXICO -n^-4*SUMARI0 NOTAS CULTURALES DE LA EMIGRACION JUAN RAMON JIMENEZ, Premio Nobel. HOMENAJE A PIO BAROJA.—León FELIPE, Alfonso REYESTTÜ a·SO ' RARO- JA.—Carta de Madrid............................................................................. ............................................. 2 Prórroga a los Premios “NUEVA ESPAÑA”, de la U.I.E.M............................................... 6 DON JUAN NEGRIN HA MUERTO.—Max AUB: Negrín, el guerrillero.-Dr. José PUCHE ALVAREZ: La personalidad científica de Juan Negrín...................................... 6 CORPUS VARGA: ANTONIO MACHADO ANTE EL DESTIERRO. ..................... 8 POESIA ESPAÑOLA EN EL DESTIERRO Recitales de LEON FELIPE y de Juan REJANO.................................................................... 10 CONFERENCIAS José Ignacio MANTECON: “Menéndez y Pelayo y el liberalismo español”................. 13 Anselmo CA RRETERO : “El problema de las Nacionalidades en España”................. 20 Gabriel G. MAROTO: “La arquitectura popular colonial”............... .......................... 21 JUVENTUD INTELECTUAL NOTICIARIO........................................................................................................... .......................... 22 José Pascual BUXO: Conferencia sobre la joven poesía española en el destierro... 23 NOTAS VARIAS CARLOS VELO, figura destacada del cine español. .............................................................. 24 EL TEATRO