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David Alfaro Siqueiros Papers, 1921-1991, Bulk 1930-1936
http://oac.cdlib.org/findaid/ark:/13030/tf9t1nb3n3 No online items Finding aid for the David Alfaro Siqueiros papers, 1921-1991, bulk 1930-1936 Annette Leddy Finding aid for the David Alfaro 960094 1 Siqueiros papers, 1921-1991, bulk 1930-1936 Descriptive Summary Title: David Alfaro Siqueiros papers Date (inclusive): 1920-1991 (bulk 1930-1936) Number: 960094 Creator/Collector: Siqueiros, David Alfaro Physical Description: 2.11 Linear Feet(6 boxes) 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: A leading member of the Mexican muralist movement and a technical innovator of fresco and wall painting. The collection consists almost entirely of manuscripts, some in many drafts, others fragmentary, the bulk of which date from the mid-1930s, when Siqueiros traveled to Los Angeles, New York, Buenos Aires, and Montevideo, returning intermittently to Mexico City. A significant portion of the papers concerns Siqueiros's public disputes with Diego Rivera; there are manifestos against Rivera, eye-witness accounts of their public debate, and newspaper coverage of the controversy. There is also material regarding the murals América Tropical, Mexico Actual and Ejercicio Plastico, including one drawing and a few photographs. The Experimental Workshop in New York City is also documented. 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; Castilian and English Biographical/Historical Note David Alfaro Siqueiros was a leading member of the Mexican muralist movement and a technical innovator of fresco and wall painting. -
Anita Brenner
Premio Rabino Jacobo Goldberg 2015 Marcela López Arellano (Aguascalientes, El lector encontrará en esta obra la vida de la mujer que en su México). Es licenciada en Investigación época fue un modelo intelectual, polifacética y conocedora a Educativa por la Universidad Autónoma profundidad de dos culturas en las cuales estuvo inmersa: la de Aguascalientes, maestra en Estudios mexicana y la judía. Fue una mujer cuya presencia resultó Humanísticos/Historia por el Instituto trascendental para la historia del arte mexicano, así como la Tecnológico de Estudios Superiores de expresión de su judaísmo arraigado desde su infancia. La autora Monterrey, y doctora en Ciencias Sociales y logra penetrar en el ser y la conciencia de la gran escritora y Humanidades/Historia por la Universidad periodista Anita Brenner, a través de sus documentos personales Autónoma de Aguascalientes. como cartas, diarios y memorias, en cuyas letras se vislumbra la Ha publicado artículos y capítulos de li- visión que tuvo de México a lo largo de su vida. bros sobre la historia de Aguascalientes, historia de mujeres y de género y cultura escrita. Desde el año 2005 colabora sema- Marcela López Arellano fue distinguida con el Premio Rabino nalmente en un programa de radio/TV, en Jacobo Goldberg 2015, otorgado por la Comunidad Ashkenazí, el cual ha difundido sobre todo historia de A.C. de México, categoría Investigación. mujeres. Forma parte del Seminario de Me- moria Ciudadana CIESAS-INAH desde 2013, así como del Seminario de Historia de la Educación de la UAA con reconocimiento del SOMEHI- na escritora judía con México en el corazón DE. -
The Power and Politics of Art in Postrevolutionary Mexico'
H-LatAm Lopez on Smith, 'The Power and Politics of Art in Postrevolutionary Mexico' Review published on Friday, February 22, 2019 Stephanie J. Smith. The Power and Politics of Art in Postrevolutionary Mexico. Chapel Hill: University of North Carolina Press, 2017. 292 pp. $29.95 (paper), ISBN 978-1-4696-3568-2. Reviewed by Rick Lopez (Amherst College)Published on H-LatAm (February, 2019) Commissioned by Casey M. Lurtz (Johns Hopkins University) Printable Version: http://www.h-net.org/reviews/showpdf.php?id=52717 Stephanie Smith’s new book makes a welcome addition to the study of art and politics after the Mexico revolution. Her central argument is that even though Mexico’s leftist artists stridently disagreed with one other “on the exact nature of revolutionary art,” they “shared a common belief in the potential of art to be revolutionary,” and looked to the Mexican Communist Party (PCM) as the nexus through which they defined themselves as revolutionary artists. In contrast to Soviet social realist art, which fixated on “state figureheads,” Mexican social realism, with its distinctive emphasis on the masses and on organic intellectuals, gave leftists greater flexibility to publicly critique “the policies of the Mexican government” (p. 9). Smith seeks to understand how artists created this political space for action within postrevolutionary Mexico and the limitations of this flexibility. The book joins a growing body of literature that focuses on the intersections of art, politics, and culture that includes my own work as well as outstanding studies by such scholars as Mary Coffey, Adriana Zavala, Andrea Noble, and Mary Kay Vaughan. -
Magazines, Tourism, and Nation-Building in Mexico
STUDIES OF THE AMERICAS Series Editor: Maxine Molyneux MAGAZINES, TOURISM, AND NATION-BUILDING IN MEXICO Claire Lindsay Studies of the Americas Series Editor Maxine Molyneux Institute of the Americas University College London London, UK The Studies of the Americas Series includes country specifc, cross- disciplinary and comparative research on the United States, Latin America, the Caribbean, and Canada, particularly in the areas of Politics, Economics, History, Anthropology, Sociology, Anthropology, Development, Gender, Social Policy and the Environment. The series publishes monographs, readers on specifc themes and also welcomes proposals for edited collections, that allow exploration of a topic from several different disciplinary angles. This series is published in conjunc- tion with University College London’s Institute of the Americas under the editorship of Professor Maxine Molyneux. More information about this series at http://www.palgrave.com/gp/series/14462 Claire Lindsay Magazines, Tourism, and Nation-Building in Mexico Claire Lindsay Department of Spanish, Portuguese, and Latin American Studies University College London London, UK Studies of the Americas ISBN 978-3-030-01002-7 ISBN 978-3-030-01003-4 (eBook) https://doi.org/10.1007/978-3-030-01003-4 Library of Congress Control Number: 2018957069 © The Editor(s) (if applicable) and The Author(s) 2019. This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. -
Disclaimer: the Opinions Expressed in This Review Are Those Of
Susannah Joel Glusker. Anita Brenner: A Mind of Her Own. Austin: University of Texas Press, 1998. xvi + 298 pp. $29.95, cloth, ISBN 978-0-292-72810-3. Reviewed by Charles C. Kolb Published on H-LatAm (April, 1999) Glusker, Anita Brenner's daughter, has writ‐ artists Jose Clemente Orozoco, David Alfaro ten an informative, fascinating, and lively biogra‐ Siqueiros, Miguel Covarrubias, and Henry Moore. phy of her mother, born as Hanna Brenner, to a She had a closer relationship with the illustrator Latvian-Jewish immigrant family in Aguas‐ Jean Charlot (he is characterized as "teacher, fa‐ calientes, Mexico on 13 August 1905. In the main, ther, and mentor") and Maria Sandoval de Zarco, this work covers the middle years of Brenner's then the only practicing woman lawyer in Mexico. life, 1920-1942. Brenner, educated in San Antonio, The poet Octavio Barreda and the writers Mari‐ Texas and New York City, would become an inde‐ ano Azuela, Carlos Fuentes, Lionel Trilling, pendent liberal, political radical, advocate of polit‐ Katherine Anne Porter, Frank Tannenbaum, John ical prisoners, and a champion of Mexican art and Dewey, and Miguel Unamuno were part of her culture. Some readers may recognize her as an life, as was the journalist Ernest Gruening (later historian, an anthropologist, a self-taught political Alaska's frst governor and U.S. Senator). In addi‐ journalist, a creative writer, or an art critic--she tion, political fgures such as Leon Trotsky, John was all of these and more. Anita Brenner num‐ and Alma Reed, and Whittaker Chambers; the bered among her friends many of the elite and in‐ photographer Edward Weston; cinema directors tellectuals of Mexico City and New York, among Sergei Eisenstein and Bud Schulberg; and the ar‐ them socialists, communists, poets, artists, and po‐ chaeologist-diplomat George C. -
Historia De México/Visiones De México Fall 2019 Profesor John
Arturo García Bustos, Palacio de Gobierno, Oaxaca, 1980 The Tlacolulokos, Los Angeles Public Library, 2018 Historia de México/Visiones de México Fall 2019 Profesor John Lear This course examines visions of the history of twentieth century Mexico, combining an overview of the political order that grew out of the 1910 Mexican Revolution with analysis of changing representations of “Mexicanidad” (Mexicanness, or Mexican national and transnational identity) as competing versions of Mexico’s past and present. It introduces theoretical debates surrounding the use of visual culture—painting, photography, film, and other images—for the study of history, while providing a thorough introduction to modern Mexico. It begins with an examination of projections of a modern and cosmopolitan nation in the pre-revolutionary authoritarian regime of Porifirio Díaz, analyzes the patterns of resistance, nationalism, and reconstitution of authority that characterized revolutionary Mexico from 1910-1940, and considers the creation and dissolution of the “Institutional” revolution from 1940 to 2000 and its related and problematic re-engagement with the United States. We will often focus on an inevitable and obvious “Oaxacan lens” for events, artists and representations, and we will end with visual representations of the contemporary moment. Within this periodization, we will survey a variety of individual artists, including José Guadalupe Posada, Saturnino Herrán, Diego Rivera, Frida Kahlo, Tina Modotti, Arturo Garcia Bustos, and Manuel and Lola Álvarez Bravo; -
Redalyc.Made for the USA: Orozco's Horrores De La Revolución
Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México Indych, Anna Made for the USA: Orozco's Horrores de la Revolución Anales del Instituto de Investigaciones Estéticas, vol. XXIII, núm. 79, otoño, 2001, pp. 153-164 Instituto de Investigaciones Estéticas Distrito Federal, México Disponible en: http://www.redalyc.org/articulo.oa?id=36907905 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto ANNA INDYCH university of new york Made for the USA: Orozco’s Horrores de la Revolución1 hat seems to be the eternal violence of the civil war in Mexico spills out in the crude and raw, yet delicate ink and wash draw- Wings by José Clemente Orozco, known upon their commission as Horrores de la Revolución, and later, in the United States, entitled Mexico in Revolution. One of the lesser known works from the series, The Rape, in the collection of the Philadelphia Museum of Art, exemplifies Orozco’s horrific vision of the Revolution. In a ransacked room, a soldier mounts a half-naked woman, pinning her down to the floor by her arms and hair. He perpetuates a violation committed by the other figures leaving the room—one disheveled soldier, viewed from the back, lifts his pants to cover his rear as a shadowy figure exits through the parted curtains to the right of the drawing. -
6 Anita Brenner
Samuel Villela F.* ANTROPOLOGÍA Anita Brenner en la fotografía mexicana y su expedición etnofotográfica a Guerrero1 A nita Brenner, antropóloga, periodista, historiadora, crítica de arte y escritora, tuvo un vínculo con la fotografía que la llevó a diseñar obras relevantes, para su tiempo, como Idols behind the altars y The Wind That Swept Mexico (traducida en México como La revolución en blanco y negro). Para la elaboración de la primera de dichas obras entabló una rela- ción profesional con Tina Modotti y Edward Weston, cuya trayectoria ya se venía configurando como una nueva propuesta con secuelas importan- tes para el desarrollo de la fotografía mexicana. El descubrimiento de una obra poco conocida (Brenner, 1983), a par- tir de un acervo de imágenes tomadas por el esposo de Anita, David Glus- ker (en resguardo de la Universidad Autónoma de Guerrero), me motivó a escribir el breve ensayo que ahora presentamos. La fotografía etnográfica en el Renacimiento cultural mexicano de los años veinte Después de la Revolución de 1910, se gestó en México un movimiento cultural que produciría grandes transformaciones. Como resultado de la gran conmoción social, fue reivindicado el papel de sectores tradicional- mente marginados dentro de la escena cultural mexicana. Los indígenas, generalmente marginados dentro del espectro económico-político-social del país, empezaron a ser revalorados en su aportación a la construcción de la identidad nacional. Y, aunque ya desde los albores de la Independen- cia se venía dando una revaloración de las culturas prehispánicas, a efecto * Dirección de Etnología y Antropología Social, INAH. 1 Este artículo es una síntesis de una obra próxima a publicarse. -
American Communists View Mexican Muralism: Critical and Artistic Responses1
AMERICAN COMMUNISTS VIEW MEXICAN MURALISM: CRITICAL AND ARTISTIC RESPONSES1 Andrew Hemingway A basic presupposition of this essay is 1My thanks to Jay Oles for his helpful cri- that the influence of Mexican muralism ticisms of an earlier version of this essay. on some American artists of the inter- While the influence of Commu- war period was fundamentally related nism among American writers of the to the attraction many of these same so-called "Red Decade" of the 1930s artists felt towards Communism. I do is well-known and has been analysed not intend to imply some simple nec- in a succession of major studies, its essary correlation here, but, given the impact on workers in the visual arts revolutionary connotations of the best- is less well understood and still under- known murals and the well-publicized estimated.3 This is partly because the Marxist views of two of Los Tres Grandes, it was likely that the appeal of this new 2I do not, of course, mean to discount artistic model would be most profound the influence of Mexican muralism on non-lef- among leftists and aspirant revolutionar- tists such as George Biddle and James Michael ies.2 To map the full impact of Mexican Newell. For Biddle on the Mexican example, see his 'Mural Painting in America', Magazine of Art, muralism among such artists would be vol. 27, no. 7, July 1934, pp.366-8; An American a major task, and one I can not under- Artist's Story, Boston, Little, Brown and Company, take in a brief essay such as this. -
Manuel Gamio's Ideas and Reflections on Return Migrants (1925-1930)
12 MIGRACIONES INTERNACIONALES, VOL. 10, ART. 13, 2019 1 e-ISSN 2594-0279 http://dx.doi.org/10.33679/rmi.v1i1.2169 Manuel Gamio’s Ideas and Reflections on Return Migrants (1925-1930) Ideas y reflexiones de Manuel Gamio acerca de los migrantes de retorno (1925-1930) Fernando Saúl Alanís Enciso1 ABSTRACT The purpose of the present study was to analyze the central ideas developed by Manuel Gamio about return migrants in a project conducted by the Mexican scholar in 1925 and in his classic work, published in 1930. These views are the first instances of academic reflection concerning return migrants in Mexico, the influence of American society on this social group, and the social and economic consequences of their return to Mexico. Keywords: 1. migration, 2. return, 3. project, 4. Mexico, 5. The United States. RESUMEN El artículo analiza las ideas centrales que desarrolló Manuel Gamio acerca de los migrantes de retorno en un proyecto que redactó en 1925 y en su obra principal publicada en 1930. La relevancia de este trabajo radica en que examina las primeras ideas que surgieron en el medio académico mexicano acerca del migrante de retorno, la influencia que la sociedad estadounidense tenía en ellos y las consecuencias sociales y económicas de su llegada a México. Palabras clave: 1. migración, 2. retorno, 3. proyecto, 4. México, 5. Estados Unidos. Date received: September 15, 2017 Date accepted: May 15, 2018 1El Colegio de San Luis, Mexico, [email protected], http://orcid.org/0000-0003- 2814-8341 Migraciones Internacionales is a digital journal edited by El Colegio de la Frontera Norte. -
I. Editorial on the History of Archaeology by Daniel Schavilzon
I. Editorial I would like to once again survey the readership about the possbility of adding an additional section to each issue of the BHA concerning the existence and content of newlycreated primary archival collections relating to the history of archaeology. I have heard only from a few readers/contributors in this regard. This section would contain contributions from the readership/contributors in regard to primary archival materials recently housed in repositories both public and private. With the current interest by both public and private funding agencies in preserving the anthropological record, it seems advisable that the BHA should address the creation and announce the location of new primary archival collectionsas they are formed. Through this new section in each issue, the BHA would add another usable source of information that its readership could benefit from. I look forward to any and all communications on this idea. Douglas R. Givens. Editor Bulletin of the History ofArchaeology IT. Discourse on the History of Archaeology The History of Stratigraphic Excavation In LatinAmerican Archaeology: A New Look by Daniel Schavilzon University of Buenos Aires, Introduction: Allow me to do some history of archaeology. In 1984 and jointly with Jaime Litvak King. we organized a congress that gathered at theUNAM. Mexico, with the purpose of paying homage to Ignacio Bemal called ''The History of Archaeology in Mexico." On that occasion my paper raised heated controversies, as it revised the origins of stratigraphy in Mexico, a country in which the image of ManuelGamio was highly respected and admired, while William Holmes. in those days, happened to be a perfect nobody. -
Hacia Un México Nuevo: La Genealogía Indigenista De Gamio a Inicios Del Cardenismo*
ALTERIDADES, 2013 23 (46): Págs. 79-95 Hacia un México nuevo: la genealogía indigenista de Gamio a inicios del cardenismo* GUILLERMO CASTILLO RAMÍREZ** Abstract Resumen TOWARDS A BRAND-NEW MEXICO: GAMIO’S PRO-INDIAN GENEAL- Dentro de la genealogía indigenista de Gamio –iniciada OGY AT THE BEGINNING OF CARDENISM. Within the pro-Indian con Forjando patria–, y en el marco histórico del car- genealogy of Gamio –started in his book Forjando denismo, se abordan las representaciones de los indí- patria–, and within the historical framework of Carden- genas y las propuestas del programa integracionista ism, indigenous representations and international de nación de Hacia un México nuevo. Primero se des- program proposals of Towards a Brand-new Mexico criben el contexto y el propósito de este libro, señalan- are addressed. Firstly, the context and purpose of this do su lugar dentro de la obra y vida de Gamio; después book are described, placing them within the work and se analizan las reflexiones de nación, los grupos étnicos life of Gamio; then, reflections on the concept of nations, y el mestizaje en el México de la década de los treinta; ethnical groups and interbreeding in Mexico during the por último se indaga la lectura de Gamio sobre la diver- 30s are made and, lastly, a reading of Gamio on cul- sidad cultural y la heterogeneidad étnica del país. tural diversity and ethnical heterogeneity in the country Palabras clave: indigenismo, nación, mestizaje, inte- is studied. gracionismo, antropología mexicana Key words: pro-Indian, nation, interbreeding,