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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. -
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. -
![Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E](https://docslib.b-cdn.net/cover/9348/breaching-walls-real-and-imaginary-arte-hispano-americano-latin-american-art-1000-c-e-1889348.webp)
Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E
Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E. to 2017 C.E. A Guide to the Exhibition by Noel Dorsey Vernon A STUDENT EXHIBITION GUIDE FOR EDUCATIONAL USE ONLY -- 11/12/17 (NDV) Author's Note This guide supports the art exhibition “Breaching Walls (Real and Imaginary)” held at Skyline Community College in November 2017, celebrating Latino Heritage Month. Many thanks to the administration and faculty of Skyline College for hosting and supporting it. Many thanks also to Arthur Takayama, Lorenzo Hernández and Cristina Hernández for organizing this exhibition. I am indebted to all of them for agreeing that a gallery guide might be of use and permitting me to author it. Thanks also to Professor Carlos Ugalde for taking the time to author "Comments on Art by Professor Carlos Ugalde for Lorenzo Hernández " which is included in this Exhibition Guide. My own background in Mexican and Hispano-American history is far less than was necessary to take on this project, so I spent a lot of time reading, looking at art, listening and asking questions. I had studied the history of Mexico many years ago in Guanajuato, Mexico, although my greatest interest was in Mexico's Pre-Columbian urban heritage. As a professor and Associate Dean of Environmental Design (now a Professor Emerita) in the CSU system, I was able to incorporate some this information into my landscape architecture history courses. I also am aware that much that has been written in English about Mexican art history was written by non-Mexicans. This has resulted in the misunderstanding that Mexican art history has been driven almost entirely by Western European art movements, styles and artists. -
Translating Revolution: U.S
A Spiritual Manifestation of Mexican Muralism Works by Jean Charlot and Alfredo Ramos Martínez BY AMY GALPIN M.A., San Diego State University, 2001 B.A., Texas Christian University, 1999 THESIS Submitted as partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Chicago, 2012 Chicago, Illinois Defense Committee: Hannah Higgins, Chair and Advisor David M. Sokol Javier Villa-Flores, Latin American and Latino Studies Cristián Roa-de-la-Carrera, Latin American and Latino Studies Bram Dijkstra, University of California San Diego I dedicate this project to my parents, Rosemary and Cas Galpin. ii ACKNOWLEDGEMENTS My committee deserves many thanks. I would like to recognize Dr. Hannah Higgins, who took my project on late in the process, and with myriad commitments of her own. I will always be grateful that she was willing to work with me. Dr. David Sokol spent countless hours reading my writing. With great humor and insight, he pushed me to think about new perspectives on this topic. I treasure David’s tremendous generosity and his wonderful ability to be a strong mentor. I have known Dr. Javier Villa-Flores and Dr. Cristián Roa-de-la-Carrera for many years, and I cherish the knowledge they have shared with me about the history of Mexico and theory. The independent studies I took with them were some of the best experiences I had at the University of Illinois-Chicago. I admire their strong scholarship and the endurance they had to remain on my committee. -
Diálogos Sobre Museos De Arte
ISSN: 1870-5650 S O 7 5 S PE NÚMERO 4 5 2 0 2 0 Diálogos sobre DE MARZO museos de arte 2 0 1 9 - DE EMBRE I C I D ÉPOCA TERCERA Federico Hernández, Jorge Enciso, Silvio Zavala, Leopoldo Méndez y Pablo O’Higgins en la exposición Orozco y la Revolución, GACETA DE MUSEOS febrero-marzo de 1951, Museo Nacional de Historia © ARCHIVO HISTÓRICO DEL MUSEO NACIONAL DE HISTORIA, SECCIÓN DOCUMENTOS, EXPOSICIONES FOTO DEL RECUERDO SECRETARÍA DE CUL TU RA GACETA DE MUSEOS Secretaria Alejandra Frausto Guerrero Director fundador Felipe Lacouture Fornelli † INS TI TU TO NA CIO NAL DE AN TRO PO LO GÍA E HIS TO RIA Director General Comité editorial Diego Prieto Hernández Ana Graciela Bedolla Giles Secretaria Técnica Fernando Félix y Valenzuela Aída Castilleja González Denise Hellion Puga Secretario Administrativo María del Consuelo Maquívar Pedro Velázquez Beltrán Thalía Montes Recinas Encargada de la Coordinación Nacional de Difusión María Bertha Peña Tenorio Rebeca Díaz Colunga Rosa María Sánchez Lara Coordinador Nacional de Museos y Exposiciones Federico Hernández, Jorge Enciso, Silvio Zavala, Leopoldo Méndez y Pablo O’Higgins en la exposición Orozco y la Revolución, febrero-marzo de 1951, Museo Nacional de Historia Fotografía © Archivo Histórico del Museo Nacional de Historia, sección Documentos, Exposiciones Juan Manuel Garibay Coordinadora del número Director Técnico, CNME Rosa María Sánchez Lara Fernando Félix y Valenzuela Directora de Exposiciones, CNME Editora Alejandra Barajas Gloria Falcón Martínez Director de Museos, CNME Jesús Martínez Arvizu -
North Carolina Museum of Art Announces Upcoming Exhibitions, Including Frida Kahlo, Diego Rivera, and Mexican Modernism
FOR IMMEDIATE RELEASE August 7, 2019 MEDIA CONTACTS Kat Harding | (919) 664-6795 [email protected] North Carolina Museum of Art Announces Upcoming Exhibitions, Including Frida Kahlo, Diego Rivera, and Mexican Modernism Summer and fall exhibition lineup features an ancient Egyptian grain mummy, American daguerreotypes, paintings by Avett Brothers member Scott Avett, and more Raleigh, N.C.—The North Carolina Museum of Art announces its upcoming exhibitions of painting, photography, an ancient Egyptian grain mummy, and more for summer through fall 2019. In October the NCMA opens Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection, with presenting sponsor Bank of America. Few artists have captured the public’s imagination with the force of Mexican painter Frida Kahlo (1907–54) and her husband, the Mexican painter and muralist Diego Rivera (1886–1957). The myths that surrounded these two icons of the 20th century in their lifetime arose not only from their significant bodies of work, but also from their friendships (and conflicts) with leading political figures and their passionate, tempestuous personal relationships. “Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection will emphasize a remarkable chapter in art history that is at once Mexican and global,” says Museum Director Valerie Hillings. “Diego Rivera’s personality, politics, and monumental, social realist murals made him a celebrity during his lifetime. While he once overshadowed his equally talented wife, Frida Kahlo’s fame has far outstripped her husband’s in the years since her death. The NCMA is honored to present this exhibition and Luces y Sombras: Images of Mexico | Photographs from the Bank of America Collection, which will celebrate these artists’ culture of origin as well as the diverse sources of influence they drew upon in creating their distinctive oeuvres.” Kahlo and Rivera’s works are varied in scope and inspiration. -
Catalogo De Las Exposiciones De Arte En 1957
DOI: http://dx.doi.org/10.22201/iie.18703062e.1958.1 JUSTINO FERNANDEZ CATALOGO DE LAS EXPOSICIONES DE ARTE EN 1957 SUPLEMENTO DEL NUM. 27 DE LOS ANALES DEL INSTITUTO DE INVESTIGACIONES ESTETICAS MEXICO 1 9 5 8 DOI: http://dx.doi.org/10.22201/iie.18703062e.1958.1 DOI: http://dx.doi.org/10.22201/iie.18703062e.1958.1 Activo, como siempre, el Instituto Nacional de Bellas Artes acogio un gran ruimero de exposiciones de arte en sus diversos salones y dependencias durante eI afio de 1957. Las agrupare en forma esquernatica, puesto que el detalle y el orden cronologico se encontraran mas adelante en ~I catalogo, Las grandes exposiciones instaladas en el Salon Nacional del Palacio de Bellas Artes, fueron las siguientes : 2,000 afios de pintura china; Arquitectura panamericana; Escenografia mexicana conternporanea ; 20 afios de la obra artistica del Taller de Grafica Popular. En la Sala de la Amistad Internacional tuvieron lugar las exposiciones de: Babette Korn blith; Hans Fronius; La estarnpa argentina conternporanea ; Tadeuz Kulisiewicz; Gabriel Bracho; Miguel Alandia Pantoja; Fureya : Valetta; Marcia Marx Bennett y Ant6n Sario. Sala de Arte Popular: Exposicion de Arte Popular de Checoeslo vaquia ; EI libro artistico antiguo y moderno de Mexico; Miniaturas persas. Sala de la Estampa : Tercer Salon de Grabado. Sala de Arte Prehispanico: Arte maya, colecci6n del doctor Alvar Carrillo Gil. En otros salones se exhibieron obras de los maestros: Orozco, Rivera, Siqueiros y Tamayo; y obras de pintura mexicana del siglo XIX. En las Galerlas de Chatndtepec, dependientes del Instituto N acional de Bellas Artes, se presentaron las siguientes exposiciones : trabajos de la Escuela de Artes Plasticas de Morelia, Mich.; Centro de Artesanias: ceramica y textiles; trabajos de la Escuela Nacional de Artes Plasticas de la Universidad Nacional Aut6noma de Mexico: pintura, escultura y grabado ; Agustin Navarro Vazquez; Visi6n de Yu catan; Litografias del siglo XIX; "Las calaveras", del taller Mariano Paredes; Co lectiva de Invierno. -
La Representación De La Experiencia Femenina En Tina Modotti Y Lola Álvarez Bravo*
148 LA VENTANA, NÚM. 28 / 2008 LA REPRESENTACIÓN DE LA EXPERIENCIA FEMENINA EN TINA MODOTTI Y LOLA ÁLVAREZ BRAVO* * Quiero agradecer a las alumnas Ivonne Muñoz Espinoza y Lizeth Villarreal Hinojos, de la Universidad Autónoma de Ciudad Juárez, quienes a través del Programa Verano de la Investigación DINA COMISARENCO MIRKIN Científica de la Academia Mexicana de Ciencias (AMC) me asistieron en la preparación de la investigación del presente trabajo. Resumen En el texto se analiza la obra de Tina Modotti y Dolores Álvarez Bravo desde una perspectiva de género, destacando el reper- torio iconográfico compartido por ambas artistas: la repre- sentación de las mujeres indígenas, la maternidad, la infancia, el retrato y las alegorías de la condición social de las muje- res. A través de un estudio comparativo y de la considera- ción del contexto histórico en el que ambas artistas desarrollaron sus vidas y sus obras, se concluye que en sus imágenes des- tacaron algunos de los aspectos más gratificantes del ser mujer y cuestionaron otros, en relación con los perniciosos estereotipos culturales impuestos al género femenino. Palabras claves: Tina Modotti, Lola Álvarez Bravo, perspecti- va de género, iconografía, experiencia femenina. LaVentana28-06.pmd 148 11/11/2008, 10:59 a.m. DINA COMISARENCO MIRKIN 149 Abstract This text analyzes the work of Tina Modotti and Lola Álvarez Bravo from a gender perspective, empha- sizing their shared iconographic repertoire: the representation of indigenous women, motherhood, childhood, portraiture, and allegories of the so- cial status of women. Through a comparative study focusing on the historical contexts in which both artists developed their lives and careers, it concludes that in their images they expressed some of the more gratifying experiences of being a woman, while at the same time questioning others about the negative cultural stereotypes imposed upon the female gender. -
Catálogo De Las Exposiciones De Arte En 1971
DOI: http://dx.doi.org/10.22201/iie.18703062e.1972.sup1 JUSTINO FERNANDEZ CATÁLOGO DE LAS EXPOSICIONES DE ARTE EN 1971 SUPLEMENTO AL NÚM. 41 DE LOS ANALES DEL INSTITUTO DE INVESTIGACIONES ESTÉTICAS MÉXICO, 1972 DOI: http://dx.doi.org/10.22201/iie.18703062e.1972.sup1 Primera edición: 1973 DR © 1973, Universidad Nacional Autónoma de México Ciudad Universitaria. México 20, D. F. DIRECCIÓN GENERAL DE PUBLICACIONES Impreso y hecho en México DOI: http://dx.doi.org/10.22201/iie.18703062e.1972.sup1 Las exposiciones de arte en México se han mantenido en un nivel, en cuanto aí número de ellas, desde hace algunos años (véase el Catálogo de 1969), y en 1971 estuvieron a la misma altura, pues se presentaron en total 362 exposiciones. El Instituto Nacional de Bellas Artes, y sus dependencias, organizó 90 exposicio nes. En e! Palacio de Bellas Artes se instalaron las siguientes: Bernice Kolko (fo tos), Libros de la India, Fred Powell, Valdés Galindo, La familia del hombre, Homenaje a Manuel Rodriguez Lozano, Ernesto Carrcón, Grabado Japonés Con temporáneo, Gertrude Duby, Osear Meraldi, Boanerges Mideros, Primer Salón de la historieta mexicana, Baruj Salinas, Pablo O'Higgins, Confrontación de Arte In fantil, Arte Gráfico Polaco, Litografías, Primer Salón Nacional de la Estampa, El Universo de la Universidad (fotos), Realidad pictórica de! Ecuador, Tres pintores tabasqueños, Un año de labor de la Escuela Nacional de pintura y escultura "La Esmeralda", Grupo de 10 ceramistas. A continuación se consideran otras dependencias del Instituto Nacional de -
Lectura 10: La Aparición De La Ruptura
La aparición de la Ruptura TERESA DEL CONDE Nuestra opinión no puede ser parte más de ese nudo de contradicciones que forman la historia tanto a secas como la del arte. JUAN GARCÍA PONCE1 PREÁMBULO El recuento artístico de la época que corre aproximadamente desde principios de los años cincuentas hasta mediados o fines de los setentas ha acabado por denominarse Ruptura.2 Sea o no acertada y compatible la denominación con la realidad de aquellos tiempos, es la que ha alcanzado validez, por más de una razón o hecho, que me propongo en parte enumerar; lo hago así, con la intención de clarificarme: y clarificar al lector algunos puntos que a fuerza de haber sido repetidos una y otra vez, han adquirido status histórico, aunque lo cierto es que en algunos casos se trata de meras coincidencias o de cosas que se dijeron una primera vez y posteriormente los dichos se repitieron sin sujetarlos a revisión. Al enumerar advierto que no pretendo establecer jerarquías respecto a lo que narro. El conjunto es lo que quizá cobre algún sentido para el tema que me ocupa, que es el siguiente: mostrar, más que demostrar, que la fase en la que los artistas de México tomaron como muro de rebote los presupuestos de la Escuela Mexicana (sea o no aceptada esta denominación) corresponde a varias mociones que contaban con antecedentes, pero que ofrecieron convergencia y eficacia en un cierto momento: no en los primeros, sino los últimos años de la década de los cincuentas. En los incisos subsecuentes explicitaré por que lo pienso así, pero antes deseo adelantar que la Ruptura quedó identificada con los vanguardismos y si así lo tomamos no existe ruptura de ninguna especie: lo que habría por lo que a 1 La frase de Juan García Ponce está tomada de su ensayo "La escuela muralista mexicana". -
La Esmeralda”: the Issue of Its N De “La Esmeralda”: La Cuestión N Origins (1927, 1943) N De Sus Orígenes (1927, 1943)
ERO m ISSN 1870-3429 • R E V I S T A A R B I T R A D A D E A R T E S V I S U A L E S • T E R C E R A É P O C A • J U L I O / D I C I E m B R E 2 0 1 5 NÚ 36 TEXTOS Y CONTEXTOS Notes towards a Critical History of n n Notas para una historia crítica “La Esmeralda”: The Issue of its n de “La Esmeralda”: la cuestión n Origins (1927, 1943) n de sus orígenes (1927, 1943) Recibido • 24 de abRil de 2015 n aceptado • 1 de junio de 2014 n JORGE MORALES MORENO/DOCENTE E INVESTIGADOR DE ARTE n [email protected] n RESUMEN P A L A B R A S C L A V E Este trabajo es un recuento de los diversos orígenes institucionales y conceptuales que dieron forma y sentido a la actual Escuela Nacional de Pintura, Escultura y postrevolución n Grabado “La Esmeralda”, desde la huelga estudiantil de la Escuela Nacional de educación n Bellas Artes en 1911 y la apertura de la Escuela de Pintura al Aire Libre de Santa arte n Anita en 1913, hasta la fundación de la Escuela Libre de Escultura y Talla Directa nacionalismo n en 1927, refundada después como Escuela de Pintura y Escultura en 1943. A pesar nacionalismo mexicano n de la documentación que se hace de esta secuencia institucional, el autor no esta- ruptura n blece una relación causal entre ellas, sin dejar de reconocer que la historia moderna del arte mexicano de la segunda mitad del siglo XX resulta inexplicable sin ellas. -
Gallery Guide in English
Luis Arenal (Mexican, 1908-1985). Cabeza de indígena (Head of an Indigenous Woman), 1947. Lithograph. Portland Art Museum, Museum Purchase: Marion McGill Lawrence Fund NUESTRA OUR MEXICO AND THE IMAGEN PRESENT GRAPHIC ARTS ACTUAL IMAGE 1929-1956 October 3, 2020 to February 14, 2021 The exhibition is co-organized by the Jordan Schnitzer Museum of Art and the Portland Art Museum. Support provided by Art Bridges, and by members and donors to the JSMA. 1 NUESTRA OUR MEXICO AND THE IMAGEN PRESENT GRAPHIC ARTS ACTUAL IMAGE 1929-1956 October 3, 2020 to February 14, 2021 A remarkable artistic outpouring ensued after the Mexican Revolution (1910-1920). Printmaking flourished as artists continued to demand land, labor, and education reforms, and the rights of indigenous peoples. Because they are multiples, prints could be widely distributed to raise awareness about social justice issues and advocate for change. Artists made posters and leaflets for the masses in Mexico, as well as prints to satisfy a growing audience for images of Mexican history and culture in the United States. This exhibition aims to deepen and broaden the understanding and appreciation of the graphic art of post-revolutionary Mexico, a landmark in the history of twentieth-century printmaking and modern art. Nuestra imagen actual | Our Present Image: Mexico and the Graphic Arts 1929-1956, co-organized by the Jordan Schnitzer Museum of Art (JSMA) and the Portland Art Museum (PAM), presents sixty-two prints by twenty-two artists including the leading Mexican muralists José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros, and members of Mexico’s world famous Popular Graphic Art Workshop (est.