Cartelera Cultural Octubre 2011
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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. -
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. -
80 Aniversario Del Palacio De Bellas Artes
INSTITUTO NACIONAL DE BELLAS ARTES Dirección de Difusión y Relaciones Públicas Subdirección de Prensa "2015, Año del Generalísimo José María Morelos y Pavón" México, D. F., a 19 de noviembre de 2015 Boletín Núm. 1570 Celebrará el Salón de la Plástica Mexicana su 66º aniversario con una serie de exposiciones, dentro y fuera de los muros del recinto La muestra principal será inaugurada el jueves 19 de noviembre a las 19:30 Recibirán reconocimientos Arturo García Bustos, Rina Lazo, Arturo Estrada, Guillermo Ceniceros, Luis Y. Aragón y Adolfo Mexiac el 8 de diciembre A lo largo de más de seis décadas de existencia, el Salón de la Plástica Mexicana (SPM) se ha caracterizado por ser extensivo e incluyente, y en el que todas las corrientes del arte mexicano y las generaciones de artistas tienen cabida. Así lo asevera Cecilia Santacruz Langagne, coordinadora general del organismo dependiente del Instituto Nacional de Bellas Artes (INBA), al informar que se celebrará su 66º aniversario con diversas actividades. Aun cuando el SPM ya no continúa con su vocación inicial –ser una galería de venta libre para la promoción de sus integrantes–, en ningún momento ha dejado de ser un referente para el arte mexicano, refiere Santacruz. Desde su fundación en 1949, el SPM ha incluido la obra más representativa de la plástica nacional. A pesar de las múltiples vicisitudes por las que ha atravesado, han formado parte de él cientos de pintores, escultores, grabadores, dibujantes, ceramistas y fotógrafos de todas las tendencias y generaciones. Paseo de la Reforma y Campo Marte S/N, Módulo A, 1er. -
Acquisitions Edited.Indd
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in. -
1998 Acquisitions
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in. -
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. -
Alice Rahon CV 2020
ALICE RAHON CURRICULUM VITAE Born 1904 Chenecey-Buillon, France Died 1987 Mexico City, Mexico SOLO EXHIBITIONS 2019 – 2020 Alice Rahon: Poetic Invocations, Museum of Contemporary Art, North Miami, Miami, FL 2009 Alice Rahon. Una surrealista en México (1939-1987), Museo de Arte Moderno (MAM), Mexico City; El Cubo - Centro Cultural Tijuana 1986 Alice Rahon: exposición antológica, Museo del Palacio de Bellas Artes, Mexico City, Mexico 1965 Alice Rahon, Turok-Wasserman Gallery, Mexico City, Mexico Alice Rahon: gouaches, dessins, collages, Institut français d'Amérique latine 1964 Alice Rahon, Galería Antonio Souza, Mexico City, Mexico 1963 Óleos recientes de Alice Rahon, Galería Antonio Souza, Mexico City, Mexico 1962 Louisiana Gallery, Houston, TX Óleos recientes de Alice Rahon, Galería Antonio Souza, Mexico City, Mexico Worth Avenue Gallery, Palm Beach, FL Galerie Julianne Larsson, Beirut, Lebanon 1961 Últimos óleos de Alice Rahon, Galería Antonio Souza, Mexico City, Mexico 1960 Paul Kantor Gallery, Beverly Hills, CA Últimos óleos de Alice Rahon, Galería Antonio Souza, Mexico City, Mexico 1959 Alice Rahon: Los pájaros, Galería Antonio Souza, Mexico City, Mexico 1958 Galería Antonio Souza, Mexico City, Mexico Little Gallery, Detroit, MI 1957 Alice Rahon. Los gatos, Galería Antonio Souza, Mexico City, Mexico 1956 Galería El Eco, Mexico City, Mexico 1955 Willard Gallery, New York, NY Galerie de la Cour d’Ingres, Paris, France 1954 Salon de la Plástica Mexicana, Mexico City, Mexico 1953 Willard Gallery, New York, NY Paul Kantor Gallery, Beverly -
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.