Diego, Frida, and Trotsky by Albert Bildner
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Frida Kahlo: Making Her Self up Mexico Since the 1950S) and It Is V&A, London, This Material on Offer at Frida Kahlo: 16 June to 4 November 2018 Making Her Self Up
Life & Times Exhibition Frida Kahlo: Making Her Self Up Mexico since the 1950s) and it is V&A, London, this material on offer at Frida Kahlo: 16 June to 4 November 2018 Making Her Self Up. It soon becomes apparent that ENTRY-LEVEL FRIDA the art is good but it is her image Before there was Tracy Emin and her unmade that pervades. That face. Wandering bed, there was Frida Kahlo. through rooms accompanied by My introduction to her work was reading eerie womb-like music, everything is about a painting of hers owned by Madonna. smaller than you expect, such is the The title of this was My Birth (1932) and aura and hype surrounding her. depicts Frida, quite literally, giving birth to Nonetheless, the photographs (an herself, watched over by an agonised Virgin adolescent Frida dressed in male Mary. It’s a disturbing, unforgettable image garb in a family portrait, unsmiling and sums up Frida’s art very aptly: direct, raw, and challenging as ever), shawls painful, and unapologetic. and skirts, jewellery, medicines, and make-up are fascinating to pore Madonna later said in an interview with over. What is obvious is the depth of Vanity Fair that she used this painting to suss her disability and physical suffering people out: ‘If somebody doesn’t like this (her braces and torturous-looking painting then I know they can’t be my friend.’ surgical corsets are on display), but I am sure Madonna and Frida would have got also her great strength and creativity on well. to turn such suffering and misfortune This exhibition is a real feather in the into art. -
The Blue House: the Intimate Universe of Frida Kahlo
The Blue House: The Intimate Universe of Frida Kahlo “Never in life will I forget your presence. You found me torn apart and you took me back full and complete.” Frida Kahlo By delving into the knowledge of Frida Kahlo's legacy, one discovers the intense relationship that exists between Frida, her work and her home. Her creative universe is to be found in the Blue House, the place where she was born and where she died. Following her marriage to Diego Rivera, Frida lived in different places in Mexico City and abroad, but she always returned to her family home in Coyoacan. Located in one of the oldest and most beautiful neighborhoods in Mexico City, the Blue House was made into a museum in 1958, four years after the death of the painter. Today it is one of the most visited museums in the Mexican capital. Popularly known as the Casa Azul (the ‘Blue House’), the Museo Frida Kahlo preserves the personal objects that reveal the private universe of Latin America’s most celebrated woman artist. The Blue House also contains some of the painter’s most important works: Long Live Life (1954), Frida and the Caesarian Operation (1931), and Portrait of My Father Wilhelm Kahlo (1952), among others. In the room she used during the day is the bed with the mirror on the ceiling, set up by her mother after the bus accident in which Frida was involved on her way home from the National Preparatory School. During her long convalescence, while she was bedridden for nine months, Frida began to paint portraits. -
Study Reveals Racial Inequality in Mexico, Disproving Its ‘Race-Blind’ Rhetoric
Study reveals racial inequality in Mexico, disproving its ‘race-blind’ rhetoric theconversation.com/study-reveals-racial-inequality-in-mexico-disproving-its-race-blind-rhetoric-87661 For centuries, the United States has been engaged in a thorny, stop-and-go conversation about race and inequality in American society. And from Black Lives Matter demonstrations to NFL players protesting police violence, public discussions on racism continue in full force today. That’s not the case in Mexico. Mexicans have divergent ancestry, including Spanish, African, indigenous and German. And while skin color in Mexico ranges from white to black, most people – 53 percent – identify as mestizo, or mixed race. In Mexico, inequality, though rampant, has long been viewed as a problem related to ethnicity or socioeconomic status, not race. Our new report suggests that assumption is wrong. Published in November, “Is Mexico a Post-Racial Country?” reveals that in Mexico darker skin is strongly associated with decreased wealth and less schooling. Indeed, race is the single most important determinant of a Mexican citizen’s economic and educational attainment, our results show. Unequal in every way The study, published last month by the Latin American Public Opinion Project at Vanderbilt University, or LAPOP, drew on data from the university’s Americas Barometer, a poll of 34 nations across North, Central and South America, as well the Caribbean. To capture information on race, which is often not reflected in Latin American census data, the pollsters themselves categorized respondents’ face skin tone on a standardized 11-point scale that ranges from darkest to lightest. We were fascinated to see that the Mexico data clearly showed people with white skin completing more years of schooling than those with browner skin – 10 years versus 6.5. -
Mexican Migration to NYC. the Social, Economic, and Cultural Characteristics in Comparison to Traditional Mexican Migration to the Southwest
Melissa Muriente BLPR 102 Latino Communities - 1 - Mexican migration to NYC. The social, economic, and cultural characteristics in comparison to traditional Mexican migration to the Southwest. Melissa Muriente BLPR 102 Latino Communities - 2 - Introduction With the establishment of Latinos as the largest ethnic/racial group in the city, the Hispanic population of New York City has fixed itself as a dominant presence among the city's community. Even more recently, specific Latino groups have begun to make their marks on the city. For years, the dominant Latino presence in the city has rested among people of Puerto Rican descent. While Puerto Ricans still remain the dominant Latino group in the city, they're beginning to face some stiff competition from a rather unexpected source: Mexico. Only ten years ago, Mexicans were present in sparse numbers throughout the city. In 2001, the number of Mexicans living within the city has increased to such an extent that Mexicans have become the third-largest Hispanic group after Puerto Ricans and Dominicans. (Dallas, pg.30) This is an interesting concept being that for years the traditional destination for Mexican migrants was. among the southwestern states. However, recent data shows that this is changing as more and more Mexican immigrants discover new frontiers within the U.S. Why is this happening? Why are so many people coming to New York? How is this different or similar to the traditional Mexican immigration to the southwest? In my paper, I will be looking at the reasons why so many Mexicans are coming to NYC and comparing them to the characteristics associated with past, more traditional Mexican migration to the southwest. -
Feminist Studies
FEMINIST STUDIES EDITORIAL DIRECTOR Claire G. Moses EDITORIAL COLLECTIVE Judith Keg an Gardiner, Minnie Bruce Pratt (creative writing editor), Karla Mantilla, Leis a D. Meyer, Claire G. Moses, Layli Phillips, Suzanne Raitt, Gayatri Reddy, Gay Seidman, Millie Thayer MANAGING EDITOR Karla Mantilla BUSINESS MANAGER Angie Young TYPESETTER Lise Spectre DESIGNER Duy-Khuong Van What I Saw in the Water or What the Water Gave Me, 1938. Oil on canvas, 91 x 70.5 cm. Private collection. FEMINIST STUDIES EDITORIALDIRECTOR Claire G. Moses EDITORIALCOLLECTIVE Judith Kegan Gardiner, Minnie Bruce Pratt (creative writing editor), Karla Mantilla, Leisa D. Meyer, Claire G. Moses, Layli Phillips, Suzanne Raitt, Gayatri Reddy, Gay Seidman, Millie Thayer MANAGINGEDITOR Karla Mantilla BUSINESSMANAGER Angie Young TYPESETTER Lise Spectre DESIGNER Duy-Khuong Van Figure 1. MY GRANDPARENTS, MY PARENTS, AND I, 1936. Oil and tempera on metal panel, 30.7 x 34.5 cm. Museum of Modern Art, New York. All images by Frida Kahlo © Banco de México Diego Rivera and Frida Kahlo Museums Trust. Figure 2. NUDE OF MY COUSIN ADY WEBER, 1930. Pencil on paper, 60 x 47 cm. Museo Dolores Olmeda PatiZo, Xochimilco, México. Figure 3. PORTRAIT OF MY FATHER, 1951. Oil on masonite, 60.5 x 46.5 cm. Frida Kahlo Museum, Coyoacán, México. Figure 4. DETAIL OF WHAT I SAW IN THE WATER or WHAT THE WATER GAVE ME, 1938. Oil on canvas, 91 x 70.5 cm. Private collection. Figure 5. MY BIRTH, 1932. Oil on metal, 30.5 x 35 cm. Collection of Madonna, New York. Figure 6. WITHOUT HOPE, 1945. Oil on canvas, 28 x 36 cm. -
A Still Life Is a Picture of Objects That Don't Move. Frida Kahlo Created Still-Life Paintings That
What is a still life? Meet Frida Kahlo A still life is a picture of objects that don’t move. Frida Kahlo was one of Frida Kahlo created still-life paintings that are Mexico’s greatest artists. filled with symbols of her beloved Mexico, like She grew up in a blue dragonfruit, marigolds, and Xolo dogs. house with her parents and sisters. As a teenager, she was in a bus accident and had to spend a lot of time in bed recovering. She used art to pass the time, and it became her life’s work! She painted animals, flowers, and more than 50 pictures of herself. Illustrations by Carlyn Krall Frida Kahlo: Five Works is organized by the Dallas Museum of Art. The Dallas Museum of Family Programs are organized by the Dallas Museum of Art. The Dallas Museum Art is supported, in part, by the generosity of DMA Members and donors, the National of Art is supported, in part, by the generosity of DMA Members and donors, the Endowment for the Arts, the Texas Commission on the Arts, and the citizens of Dallas National Endowment for the Arts, the Texas Commission on the Arts, and the through the City of Dallas Office of Arts and Culture. citizens of Dallas through the City of Dallas Office of Arts and Culture. Special thanks to the City of Garland, City of Irving, City of Dallas Office of Parks and Recreation, and VisitDallas. HISPANIC MEDIA SUPPORT LOCAL SUPPORT FAMILY PROGRAMS SUPPORT Still Life, 1951 © 2021 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. -
CAMOC Museums of Cities Review
01 / 2017 www.camoc.icom.museum MUSEUMS OF CITIES REVIEW ISSN 2520-2472 The Lisbon that Could Have Been A new temporary exhibition at the Museum of Lisbon ANTÓNIO MIRANDA / RAQUEL HENRIQUES DA SILVA* The Eduardo VII park, view to the Tagus river. © www.all-free.photos.com “The Lisbon that could have been” is the newest and “Fragments of Colour - The Tiles Collection of temporary exhibition of the Museum of Lisbon, on the Museum of Lisbon”, the city museum keeps on show at the Black Pavilion gallery from January 27 pursuing research and exhibition projects that reveal the up to June 18. Following exhibitions like “Fishermen museum’s collections in innovative ways. wives – Memories of the City”, “The Light of Lisbon” This exhibition uncovers how Lisbon was being thought over and planned for by mainly Portuguese architects and * Exhibition Curators: AM is a researcher at the Museum of Lisbon, and RHS is an Art Historian at Universidade Nova de Lisboa. urbanists, through the lens of projects that were CONTENTS 01 The Lisbon that Could Have Been 23 Urban Life, City Museums, and Children 04 The Chair’s Note 26 Antwerp à la carte 06 Migrations and Spontaneous Museums in Italy 29 The Power of Darkness-The night as a cultural landscape 09 Presenting Immigrant Culture at the National 33 City Circles Athens Museum of Ethnology, Japan 36 5th International Conference: Creative Cities 12 National Museum of Taiwan History and Immigrants 54 Special Dossier: Athens Workshop 14 CAMOC Annual Conference Call, Mexico 2017 57 Exhibition Alert 20 Towards the Hrant Dink Site of Memory 58 Conference Alert 1 CITY MUSEUMS Let us listen to the curators. -
Frida’S Imaginary Friend
Enter, stage left: Frida’s imaginary friend. Her name is also Frida. They play games. Frida Jonah Winter Illustrator Ana Juan Scholastic 2002 Text and Illustration Pages 8-9 Frida Jonah Winter Ana Juan [Illustrator] Scholastic Books 2002 Frida Kahlo is possibly Mexico’s most widely her recuperation from the accident. She sent recognized and appreciated painter. Mainly paintings to the well-established Mexican self-taught, she belonged to a circle of painter Diego Rivera who encouraged Kahlo, innovative and influential artists in Mexico and and in 1928 the two painters married; their internationally. Kahlo was married to the artist stormy relationship would last for the rest of Diego Rivera. She was also an active Kahlo's life. participant in the cultural and political movements of her time. Largely self-taught, Kahlo was decisively influenced by the starkness, high color, and Her work combines folk-art elements with a bold, naive figuration of the popular and highly personal symbolism that can be both religious arts of Mexico. She connected those mysterious and disquieting. Her self-portraits arts with developments in French and Spanish painted between 1925 and 1954 offer a surrealism, in which modernist abstraction complex autobiography, exploring both gave way to realistic images placed in physical and psychological pain. Kahlo unexpected-even bizarre and nightmarish- contracted polio as a child and as a teenager juxtaposition. One of Kahlo's early supporters was involved in a serious bus accident that was the leader of the French surrealists, Andre required many surgeries throughout her life. Breton, who in 1939 sponsored an exhibition of Her relationship with Rivera was a source of her work in Paris. -
My Frida Kahlo Story
LAS MUJERES y LA CULTURA DE LA REVOLUCION FRIDA KAHLO As Obregon took charge, he began the task of winding down the violent military phase of the Revolution. Bitter fighting would continue but subside. His more formidable challenge was to translate the experience of the Revolution into palpable achievements. However, the nation was broke and broken; it was next to impossible to produce immediate results that would be visible to all, including the illiterate masses. Aesthetic achievement would have to substitute for immediate material results. Art would be drafted into the service of politics. Art before the Revolution was mostly an importation; it was the fashion to depreciate things Mexican. But art that emanated from the Revolution became a search for nativism. Obregon turned loose his cultural chieftain, Jose Vasconcelos, whose task was to build a "portfolio" that would draw its themes, spirit, and rationales from the aspirations of the Revolution. Vasconcelos would enlist artists Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera. Mural art became the medium to express these indigenous themes in a spectacular and panoramic explosion of brilliant warmth and color. Diego Rivera was the most prolific and arguably Mexico's greatest muralist. Was he also Mexico's greatest painter? The following transposes a familiar dialogue : 'Who's Diego Rivera?" "He was married to Frida Kahlo," some might add, "twice." Frida Kahlo's venturesome nature and dramatic impact would not be suggested by the of tact that her life began and ended in the same place: in a southeast suburb of OMexico City, Coyoacan, in a one-story stucco house. -
Maya and Nahuatl in the Teaching of Spanish
San Jose State University SJSU ScholarWorks Faculty Publications World Languages and Literatures 3-1-2007 Maya and Nahuatl in the Teaching of Spanish Anne Fountain San Jose State University, [email protected] Catherine Fountain Follow this and additional works at: https://scholarworks.sjsu.edu/world_lang_pub Part of the Other Languages, Societies, and Cultures Commons Recommended Citation Anne Fountain and Catherine Fountain. "Maya and Nahuatl in the Teaching of Spanish" From Practice to Profession: Dimension 2007 (2007): 63-77. This Conference Proceeding is brought to you for free and open access by the World Languages and Literatures at SJSU ScholarWorks. It has been accepted for inclusion in Faculty Publications by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. 6 Maya and Nahuatl in the Teaching of Spanish: Expanding the Professional Perspective Anne Fountain San Jose State University Catherine Fountain Appalachian State University Abstract Indigenous languages of the Americas are spoken by millions of people 500 years after the initial period of European conquest. The people who speak these languages and the customs they continue to practice form a rich cultural texture in many parts of Spanish America and can be important components of an instructor’s Standards-based teaching. This article discusses the influence of Maya and Nahuatl languages and cultures on the language, literature, and history of Mexico and Central America. Examples of this influence range from lexical and phonological traits of Mexican Spanish to the indigenous cultures and worldviews conveyed in texts as varied as the Mexican soap opera “Barrera de Amor” and the stories by Rosario Castellanos of Mexico and Miguel Angel Asturias of Gua temala. -
Frida Kahlo: Dress and Identity
Frida Kahlo: Dress and Identity ART HISTORY MEXICO Cultural Journeys Mexico | Colombia | Guatemala www.tiastephanietours.com | (734) 769 7839 Frida Kahlo: Dress and Identity ART HISTORY MEXICO Many aspects of Frida Kahlo have been studied, pondered and admired. From her art, politics, love life, travails, and many others. A singular aspect of Frida Kahlo and her identity was her dress. Frida used dress consciously in the creation of her identity. Through dress, she crafted her image, displaying her cultural heritage from both Europe and Mexico. Who can imagine Frida Kahlo without visioning her Tehuana dress, the dress and region she most often adorned herself in, particularly for photos. But there were many others, from her “tomicoton” of Hueyapan, Puebla, her beautiful rebozos from Central Mexico, her Mazatec dress from Oaxaca and more. On this journey, we’ll explore how Frida used dress in the creation of her identity, and we’ll travel to some of the regions and communities of Mexico to meet the artisans, who to this day continue the legacy of hand crafting ethnographic clothing, an intimate expression of cultural identity. Program Highlights • Explore the National Museum of Anthropology • See her most famous painting: The Two Fridas at the Museum of Modern Art • Travel to Coyoacan to see her childhood home, “The Blue House” and to walk the neighborhood, LOCATION she and Diego often strolled hand and hand together (and eating tacos and drinking tequila!) • Attend lecture on Frida Kahlo’s ethnographic dress • Attend a rebozo expo-venta to learn of the iconic garment of Mexico, Frida often wore. -
Orthopedic Impairment: Frida (Movie) Est
Activity Orthopedic Impairment: Frida (Movie) Est. Time: 2 Hours Viewing/45 Minutes Class Objective Gain a better understanding of the impact that an orthopedic impairment (sometimes referred to as a physical disability) can have on an individual and his or her family. Overview This movie follows the life of artist Frida Kahlo who has an orthopedic impairment, the result of a serious accident when she was eighteen. The physical pain Kahlo experiences due to this accident and from the ensuing medical procedures haunts her throughout her life. A chronicle of her development and success as an artist, the movie vividly illustrates how Kahlo is able to channel her physical pain and her tumultuous relationship with her husband into her artwork. Activity View the following movie and be prepared to discuss the questions below in class. Title: Frida (2002) Studio: Miramax Questions/Discussion Topics 1. What happens to Kahlo in the accident? 2. How does Kahlo cope with having a physical disability? 3. How does Kahlo’s family view her future? 4. How does her physical impairment impact her, both physically and psychologically, throughout the movie? 5. Is Kahlo burdened by having a physical disability or does she seem to overcome this? Explain. The contents of this resource were developed under a grant from the U.S. Department of Education, #H325E170001. iris.peabody.vanderbilt.edu However, those contents do not necessarily represent the policy of the U.S. Department of Education, and you should not assume endorsement by the Federal Government. Project Officer, Sarah Allen . 052121 1.