LATIN AMERICAN and CARIBBEAN MODERN and CONTEMPORARY ART a Guide for Educators
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Artists: Argentine Lisa Hudgins University of South Carolina - Columbia, [email protected]
University of South Carolina Scholar Commons Archaeology and Anthropology, South Carolina Faculty & Staff ubP lications Institute of 2007 Artists: Argentine Lisa Hudgins University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/sciaa_staffpub Part of the Anthropology Commons Publication Info Published in The Oxford Encyclopedia of Maritime History, ed. John B. Hattendorf, Volume 1, 2007, pages 159-160. http://www.oup-usa.org © 2007 by Oxford University Press This Article is brought to you by the Archaeology and Anthropology, South Carolina Institute of at Scholar Commons. It has been accepted for inclusion in Faculty & Staff ubP lications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Artists: Argentine 159 the local fishing boats and trade ships that dotted the harbor. Other art from this period includes an anony mous engraving from 1610 depicting Sir Francis Drake on the Rfo de la Plata and a 1628 painting by the Dutch artist Johannes Vingboons of the second incarnation of Buenos Aires. By including key landmarks in the profile of the new Buenos Aires, Vingboons's painting provides a chronological marker for change along the South American coast. Images of trade ships in the port of Buenos Aires are rarely seen, because for nearly two hundred years much of Spain's transatlantic trade was controlled by northern ports. Some black market trade did continue, and local shipping was allowed, but the ports in Peru and Panama captured the majority of the shipping until 1778. Images of Argentina's maritime history came from other sources. -
In Every Issue
www.flacsoandes.edu.ec HARVARD REVIEW OF LATIN AMERICA WINTER 2015 VOLUME XIV NO. 2 Published by the David Rockefeller Center for Latin American Studies Harvard University IN EVERY ISSUE BOOK TALK GARBAGE Breeding Gangs 77 A Review by Marcela Valdes FIRST TAKE Art as Civic Acupuncture 79 Waste by Marty Chen 2 A Review by Pedro Reina-Pérez TRANSFORMATIONS Bringing the War to Mexico 80 Trash as Treasure by William L. Fash and E. Wyllys Andrews 8 A Review by Andrea Oñate Recycle the Classics by Doris Sommer 11 A Recycling (of) Tradition: A Photoessay by Andrew Lantz 14 Tracing Back Marijuana Stigma 82 Trash into Treasure by Tina Montalvo and Charles Martin 16 A Review by Viridiana Ríos RECYCLING LIVES BUILDING BRIDGES Living off Trash in Latin America by Martin Medina 20 We Make Things Happen 84 Recycling Livelihoods by Lucía Fernández and Martha Chen 25 by Marcela Rentería Ciudad Saludable by Albina Ruiz Ríos 29 The Sound of Garbage by Rocío López Íñigo 32 A Long Way from the Dump by Evelyn Mansilla 34 THE ART OF TRASH Trash Moves by Maite Zubiaurre 38 Beautiful Trash by Paola Ibarra 41 ONLINE Daniel Lind-Ramos by Lowell Fiet 44 Look for more content online at A Present from the Sea by Sonia Cabanillas 46 revista.drclas.harvard.edu Burning Messages by Michael Wellen 48 Haiti in the Time of Trash by Linda Khachadurian 50 Thinking on Film and Trash by Ernesto Livon-Grosman 53 CONFRONTING WASTE ON THE COVER Privatizing Latin American Garbage? It’s Complicated… by Sarah Hill 56 “Descarga Cero” by Jake Trash in the Water by James Howe and Libby McDonald 60 Kheel, environmental director of Puntacana Resort & Club Zero Waste in Punta Cana by Jake Kheel 63 in the Dominican Republic, 66 Recycling in Guatemala: A Photoessay by Kellie Cason O’Connor shows waste before being Buenos Aires by Jessica Sequeira 70 processed in its ambitious Transforming Values by Julia Leitner 73 Zero Waste Program. -
2016 Bulletin
2016 Bulletin Table of Contents Director’s Note 05 Ellsworth Kelly’s Austin 06 Public Programs 08 PK–12 Programs 09 Family Programs 10 Community Programs 11 Center for Prints and Drawings 12 University Engagement 13 Membership 16 Events 17 At a Glance 18 Exhibitions 20 Special Installations 31 Select Exhibition Loans 33 Acquisitions 35 Donor Listing 65 Appendix 66 BLANTON NATIONAL LEADERSHIP BOARD Michael Klein, Chair Janet Allen, Vice Chair Janet and Wilson Allen Leslie and Jack Blanton, Jr. Suzanne Deal Booth Sarah and Ernest Butler Michael Chesser Mary McDermott Cook Alessandra Manning-Dolnier and Kurt Dolnier Tamara and Charles Dorrance Sally and Tom Dunning Kelley and Pat Frost Stephanie and David Goodman Anthony Grant Shannon and Mark Hart Eric Herschmann Stacy and Joel Hock Sonja and Joe Holt Nancy and Bob Inman Kenny and Susie Jastrow Marilyn D. Johnson Jeanne and Michael Klein Jenny and Trey Laird Cornelia and Meredith Long Kathleen Irvin Loughlin and Christopher Loughlin Suzanne McFayden Marlene N. Meyerson (1940–2017) Fredericka and David Middleton Lora Reynolds and Quincy Lee Richard Shiff Eliza and Stuart W. Stedman Ellen and Steve Susman Judy and Charles Tate Marilynn and Carl Thoma Jill Wilkinson Jessica and Jimmy Younger 4 Director’s Note This bulletin offers a snapshot of the Blanton’s multifaceted role as one of the most celebrated university museums in the world and as Austin’s art museum. The exhibitions and acquisitions covered in these pages begin where the last Blanton bulletin concluded, in January 2014, and extend through summer 2016. The Blanton’s programming during this period reflects the quality and uniqueness the museum strives for through its diverse forms of engagement with the community. -
Annual Report 2013-2014
The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I. -
Documents of 20Th-Century Latin American and Latino Art a DIGITAL ARCHIVE and PUBLICATIONS PROJECT at the MUSEUM of FINE ARTS, HOUSTON
International Center for the Arts of the Americas at the Museum of Fine Arts, Houston Documents of 20th-century Latin American and Latino Art A DIGITAL ARCHIVE AND PUBLICATIONS PROJECT AT THE MUSEUM OF FINE ARTS, HOUSTON ICAA Record ID: 1065622 Access Date: 2017-08-18 Bibliographic Citation: Mosquera, Gerardo. “From Latin American Art to Art from Latin America.” ArtNexus (Bogotá, Colombia), no. 48 (April- June 2003): 70- 74. WARNING: This document is protected by copyright. All rights reserved. Reproduction Synopsis: or downloading for personal Gerardo Mosquera considers the usefulness of the idea of Latin American art, ultimately taking a use or inclusion of any portion firm position against it as it has been understood up to now. He begins by describing Latin of this document in another work intended for commercial American culture’s “neurosis of identity” as the inevitable result of its complex history of cultural purpose will require permission and ethnic intermingling, colonialism, and oppositional relationships with Europe and the United from the copyright owner(s). States. Mosquera warns of the “traps” into which Latin American art is apt to fall with the ADVERTENCIA: Este docu- globalization of art and culture, even though, thanks to globalization it is increasingly visible in mento está protegido bajo la ley de derechos de autor. Se the so-called mainstream. In this context, Latin American art that insists on its identity as such is reservan todos los derechos. in jeopardy of, among other things, 1) becoming a postmodern “cliché,” 2) being seen as Su reproducción o descarga derivative of art produced in Western centers, and 3) of “self-exoticism.” Instead, Mosquera para uso personal o la inclusión de cualquier parte de este argues that Latin American artists should be understood as part of what he calls a “third scene,” documento en otra obra con in which difference and displacement is accepted as an inherent aspect of globalization. -
Single-Owner Collection of Cuban Art Included in the Latin American Art Sale | November 22-23, 2016
PRESS RELEASE | NEW YORK | 2 5 OCTOBER 2016 WIFREDO LAM (1902-1982) MARIANO RODRÍGUEZ (1912-1990) Sur les traces (Transformation), Painted in 1945. Pelea de gallos, Painted in 1942. Estimate: $2,500,000-3,500,000 Estimate: $800,000-1,200,000 SINGLE-OWNER COLLECTION OF CUBAN ART INCLUDED IN THE LATIN AMERICAN ART SALE | NOVEMBER 22-23, 2016 MIAMI PREVIEW | OCTOBER 29-30, 2016 New York—Christie’s announces an unprecedented single-owner collection of modern and contemporary Cuban art, CUBA MODERNA: Masterworks from a Private Collection, featured in the Latin American Art sale, November 22-23 in New York, with a public preview of highlights in Miami from October 29-30. The Miami preview is held in collaboration with Christie’s International Real Estate and EWM Realty International. Carefully assembled over the past three decades, this extensive collection of nearly forty works spans from the historical vanguardia—with works by Victor Manuel, Eduardo Abela, Amelia Peláez, Fidelio Ponce de León, Carlos Enríquez, Marcelo Pogolotti—through modern masters of the Havana school—Cundo Bermúdez, René Portocarrero, Mario Carreño, and Mariano Rodríguez—artists that experimented in abstraction and Surrealism—Wifredo Lam, Agustín Fernández, Servando Cabrera Moreno, and José María Mijares—as well as a handful of contemporary painters who made waves in the 1980s and 1990s, once again drawing Cuban art into the international spotlight. CUBA MODERNA is led by Wifredo Lam’s Sur les traces (Transformation), (estimate: $2,500,000-3,500,000). Painted in 1945, after Lam’s return to Havana during the Second World War, this large-scale painting exemplifies the impact of Surrealism coupled with the influence of Afro-Cuban culture, in which stippled, black brushwork insinuates myriad bodies— suggestively hybridized and otherworldly—silhouetted against a shadowy landscape. -
Latin American Art: Selected Sources
BiblioNoticias No. 94, March 1998 Editor: Ann Hartness LATIN AMERICAN ART: SELECTED SOURCES Compiled by Laura Gutiérrez-Witt The increasingly visible presence of Latin American artists and their work on the global art scene has resulted in a vast increase in the number of publications and sources of information on Latin American art. A variety of institutions such as museums, galleries, and universities as well as commercial publishers and government cultural agencies in the United States, Latin America and Europe are sponsoring and distributing these materials. Necessarily the titles selected for this bibliography represent only those works which deal with Latin American art in general. Publications which deal with the history of art in one country or with only one artist are excluded due to their sheer volume. Latin American art is here defined to include all media: painting, architecture, sculpture, photography, drawing, printmaking, textiles, decorative art such as furniture and metalwork, and contemporary folk art. The titles are limited to works and artists of the sixteenth to twentieth centuries. Materials on pre-Columbian indigenous art are excluded, again because of their volume. Additional sources for Latin American art can be found in the library catalog under "Art--Latin America" and "Art, Latin American," as well as under specific countries, for example, "Art-- Argentina" and "Art, Argentine." A search can also be done by medium, for example, "Painting-- Argentina" and "Painting, Argentine." PRINT SOURCES BIBLIOGRAPHIES A Bibliography of Contemporary Art in Latin America: Books, Articles and Exhibition Catalogs in the Tulane University Library, 1950-1980. Comp. by Monica E. Kupfer. -
Making Monsters
µ˙The Museum of Fine Arts, Houston Ideas to Inspire and Invigorate the Art Classroom Making Monsters A Few Discussion Questions to Start Conversations 1. The artist assembled a hodgepodge of elements like industrial garbage, scraps from a sewing basket, and domestic objects from everyday life to create this sculpture. Can you identify any specific materials that were used? 2. This sculpture is more than five feet long. What would the sculpture’s impact be if it was small enough to sit on a desk or bookcase? 3. This sculpture is part of the series Cosmic Monsters, which Berni produced in response to the economic conditions and disparities in Argentinean society. Knowing that, how does it add to or change the way you see this sculpture? Kick start your students’ creativity with new ideas, approaches, and materials designed to challenge participants and take their work to a new level. Each art activity provides detailed instructions Gather These Art Materials and connections to works of art at the MFAH as well as a list of accessible, affordable supplies and where you can purchase them. • Aluminum foil • Tape This fun idea is geared for elementary instructors wanting to reuse • Permanent marker and recycle materials to create a found-object sculpture inspired by • Glue gun and glue sticks Argentine artist Antonio Berni. • Cardboard scraps • Paper scraps • Scissors Connection to the MFAH Collection • Found objects from around your classroom (paper clips, nails, bobby pins, straws, buttons, screws, wire, yarn, thread, etc.) Born in Rosario, Argentina, Antonio Berni is a central figure in 20th-century Argentinean art. -
Pintura Y Memoria Colectiva: Antonio Berni
INSTITUTO DE ECONOMÍA APLICADA Y SOCIEDAD Arte y Cultura Pintura y Memoria Colectiva: Antonio Berni JUNIO 2020 PABLO DUARTE MARÍA SOFÍA MARES INÉS MARÍA FISZMAN ROBERTO LAVAGNA Pintura y Memoria Colectiva: Antonio Berni El arte y la cultura pueden jugar un papel importante en la promoción de objetivos sociales y económicos, ya que fomentan el desarrollo de talentos e innovación, genera atracción turística, mejora la salud y el bienestar general y de ciertos grupos en especial, además de generar una industria que produce y comercializa productos y servicios, compra insumos, contrata personal, paga salarios e impuestos. Pero más allá del rol que juega el arte en la economía y de su valor intrínseco, cumple un rol de evocador de memoria y pertenencia, otorga una perspectiva del pasado y de la historia. El arte funciona como constructor de la memoria histórica de un país, a través del relato artístico de los acontecimientos políticos y sociales; es el testimonio de la concepción que tenían los artistas de la realidad. En el caso argentino, hay numerosos artistas a lo largo de la historia que ayudan a la construcción de la memoria: “todo arte es político” decía Antonio Berni (Rosario, Argentina 1905 - Buenos Aires, 1981), uno de los artistas que retrató la realidad política y social del país. Berni comenzó su educación artística con una serie de becas que lo llevó a estudiar a Europa, para regresar a la Argentina en la década de 1930. Sus trabajos de esos años denotan influencias del surrealismo y el muralismo mexicano, pero luego se alejó de estas corrientes a medida que su interés por la realidad de la Argentina lo volcó a una pintura más realista. -
MALBA COLLECTION Agustín Pérez Rubio OPEN HISTORY, MULTIPLE TIME
MALBA COLLECTION Agustín Pérez Rubio OPEN HISTORY, MULTIPLE TIME. A NEW TURN ON THE MALBA COLLECTION 33 …we never had grammars, nor collections of old plants. And we never knew what images selected and settled on according to the criteria of those who urban, suburban, frontier and continental were. articulate “authorized” discourses on art. Even today, we unwittingly find Oswald de Andrade1 ourselves exercising power in a practice that continues to be enmeshed in that state of afairs. The historian “stains” history just as, in Lacan’s theory …forget the stuf of the Old World, and put all of our hope, and our efort, into creating of vision, the viewer stains the scopic field.4 And that is made manifest if this new culture right here. Forget artists and schools; forget that literature and philosophy; the field of action is that artifice called Latin America. While it is true that the be cleansed and renewed; think to the beat of this life that surrounds us ... Leave behind, region is held together by certain common traits, its complex cultural reality then, authors and teachers that are no longer of any use to us; they have nothing to tell us about what we must discover in ourselves. has been shaped entirely on the basis of a colonial logic driven by political Joaquín Torres García2 and economic powers. In this globalized age, we cannot situate ourselves on a tabula rasa from which to look back at history and Latin American art as if nothing had happened before. …visual artifacts refuse to be confined by the interpretations placed on them in the present. -
Modernism, the United States Continues to Suffer from a Dis We to Modernism's Cultural Tressing Provincialism
When it comes to modernism, the United States continues to suffer from a dis We to modernism's cultural tressing provincialism. still presume share patent War II to between ourselves and Europe?before World belongs that side of the to us. case are a Atlantic; post-WWII goes (In you thinking "beating dead horse" as read the exercise: count the references to non you this, try following major in new Hal Rosalind European/non-U. S. works the splashy textbook by Foster, Krauss,Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900.' Even Robin Ad?le to modernism still adds Greeley for those who really ought know better, up to an Eurocentric Modernism: overwhelmingly phenomenon.) A provincialism underwritten by the worlds biggest military with a to "mul What El Norte Can Learn from budget cannot, however, be easily shrugged off nod continents Latin America ticulturalism."2 Merely adding cultures of the other five + subcontinents + archipelagos + etc. to the modernist mix does not And costs us we fix the problem. this deficiency dearly. What understand?or to don't?about, say, Chinas cultural relationship modernity may spell the differ ence an or between actively collaborative future with Asia's colossus antagonistic as at news will the blundering. And, any glance the daily show, knowledge gap U.S. interests adds to between hegemonic and Islamic culture exponentially politi cal tensions and human misery both here and abroad. in six The essays collected this forum, analyses by contemporary scholars of Latin are a to address key American and Chicano/a critics, part of larger effort to Latin American a this problem with regard modernism. -
07.Blood and Ritual. Ancient Aesthetics In
Blood and ritual: ancient aesthetics in feminist and social art in Latin America Emilia Quiñones Otal Introduction The work of contemporary artists Regina José Galindo and Lorena Wolffer has been characterized by its harsh social criticism. While both are primarily known for their work against gender violence, they have also addressed other problems in their regions, such as oppressive governments, wars, and the imperialism they are subjected to due to the political, economic, and cultural intervention of the United States. Galindo was born in Guatemala and has worked there throughout her career. Her art has been exhibited around the world, including at the Venice Biennale, where in 2005 she was awarded a Golden Lion in the category of "artists under 30." Wolffer is Mexican and, like Galindo, she has had an international impact. Both have developed an art full of striking elements, including blood, aimed at disturbing the viewer, and both use very contemporary methods, including performance, video art, and complex art projects in which the audience interacts with the piece and where one single piece may consist of written, recorded, photographed, and theatrical elements. This paper will examine the artists who have had the greatest impact on these two contemporary women in terms of theme, style, and symbolism. One performance each by Galindo and by Wolffer will be addressed in particular. The theme and many formal symbolic elements are common to both performances, which are characterized by a very strong critique of social problems in their countries, including the economic crisis, corruption, military interventions, rape, and the problems faced by the indigenous people of Guatemala.