Artwords Spring 2020

Total Page:16

File Type:pdf, Size:1020Kb

Artwords Spring 2020 SPRING 2020 ARTWORDS Vol. 25 | No. 2 a newsletter for the Friends of the David Owsley Museum of Art IN THIS ISSUE: MEXICAN MODERNITY, PROGRAM CALENDAR, NEW TO THE COLLECTION ARTWORDS David Owsley Museum of Art SERVING EAST CENTRAL INDIANA SINCE 1936 FRIENDS ADVISORY COUNCIL MUSEUM STAFF Mary Foster, Vice Chair Robert G. La France, Director Jim Gooden, Chair Rachel Buckmaster, Assistant Director Ann Johnson Tania Said, Director of Education Sigrid Koehler-Wilkins Denise Mahoney, Registrar and Collection Manager Sandra McCallister, Secretary Noelle Giuffrida, Assistant Curator of Asian Art Karen Moorman Randy Salway, Exhibition Designer & Preparator Joe Trimmer Cathy Bretz, Education Program Coordinator Sue Whitaker Jordan Huffer, Staff Photographer Jeanne Zeigler Ex officio WRITERS Seth Beckman, Dean, College of Fine Arts Rachel Buckmaster (RB) Rachel Buckmaster, Assistant Director, DOMA Noelle Giuffrida (NG) Robert G. La France, Director, DOMA Robert G. La France (RGL) Jan McCune, President, DOMA Alliance Denise Mahoney (DM) Karen Vincent, President, Muncie Art Students’ League Tania Said (TS) DESIGN Aubrey Smith Creative COVER ART Diego Rivera, Mexican (1866 – 1957) Girl with Flowers (Niña con flores), 1954, watercolor on rice paper, Collection of Dr. Zapanta. © 2019 Banco de Mexico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artist Rights Society (ARS), NY. ARTwords is published biannually by the David Owsley Museum of Art at Ball State University, Muncie, Indiana ©2020. All rights reserved 2 ARTWORDS | BSU.EDU/DOMA LETTER FROM THE DIRECTOR This Spring semester, the David Owsley interest faculty and students in a Existence explores Mexican artist Frida Museum of Art focuses on Mexican art variety of fields of study at Ball State. Kahlo’s work through interpretations by and culture. The main exhibition, Mexican The associated programming is also contemporary theater artists Veronica Modernity: 20th-Century Paintings from designed to appeal to schoolteachers Santoyo and David Little. the Zapanta Collection, celebrates and schoolchildren in the region, with Regular programs at DOMA continue this the flowering of the arts in Mexico. It an educator overview and Spanish semester with Final Friday PechaKucha underlines the contributions of major language tours for high school students. talks on the themes of bridges and players and movements including the In addition, DOMA is offering a public borders on March 27 and April 24 from early masters, the Three Great Mexican presentation about Mexican Modernity 6 – 9 pm; Meditation in the Museum muralists, the second generation of by Gregorio Luke, the former director on most Friday afternoons at 3pm; and muralists, women artists, the Rupture of the Museum of Latin American Art in Docent’s Choice Tours on most Saturdays generation, and the artists of Oaxaca. In Long Beach, Consul of Cultural Affairs at 2:30pm. Kindly consult the calendar in addition, DOMA has curated an adjunct of Mexico in Los Angeles, California, this issue for details. We also encourage exhibition that reveals the impact of and First Secretary of the Embassy of you to join the Alliance in order to attend Mexican modernism in the United States Mexico in Washington, DC, at the annual our monthly lunch presentations, special and Muncie’s connection to artists in the Edmund F. Petty Lecture on March tours, and trips. colonial town of Taxco, Mexico. 12 at 6pm. What is more, on Friday, Experience all that there is to see and do The exhibition provides an opportunity April 17 at 6pm, DOMA is hosting an at East Central Indiana’s gateway to the to underline Mexico’s contribution to interactive performance in partnership world of art! modern art with a display and bilingual with Ball State University’s Department Spanish-English catalogue that will of Theater and Dance. Frida: A Fertile –RGL Ball State University | David Owsley Museum of Art 3 Raúl Anguiano, Mexican (1915 – 2006), Rufino Tamayo, Mexican (1899 – 1991), The Thorn (La espina), 2002, oil on canvas, Venus (Venus negra), 1968, lithograph, Collection of Dr. Zapanta. Courtesy of Collection of Dr. Zapanta. © 2019 Tamayo Brigita Anguiano. Heirs / Mexico / Licensed by VAGA at Artists Rights Society (ARS), NY. Federico Cantú, Mexican (1907 – 1989), Leonora Carrington, British (1917 – 2011), Rafael Coronel, Mexican (1931 – 2019), Farewell (La despedida), n. d., Gouache on paper, Tuesday, state II (Martes, estado II), lithograph, Street Performers II (Carperos II), Collection of Dr. Zapanta. Collection of Dr. Zapanta. © 2019 Leonora 1980, oil on canvas, Carrington / Collection of Dr. Zapanta. Artists Rights Society (ARS), New York. 4 ARTWORDS | BSU.EDU/DOMA jan 30 - may 03 EXHIBITION Regular museum hours: Monday-Friday, 9 am – 4:30 pm; Saturday–Sunday, 1:30 – 4:30 pm MEXICAN MODERNITY: Mexican Modernity: 20th-Century Paintings from the Zapanta The exhibition at Ball State University is complemented by a pre- Collection provides an overview of artistic styles and a consider- sentation of works from the David Owsley Museum of Art’s col- ation of significant themes, political events, and social narratives lection as well as significant loans that highlight Mexican artists’ that informed the creative output of several generations of mod- impact on the United States and East Central Indiana, including a ern Mexican artists. The paintings, draw- rare set of vintage photographs of Frida ings, and prints on display represent Kahlo in New York, Mexico, and at the not only Los Tres Grandes (The Three U.S. border by Manuel Álvarez Bravo, Greats) of Mexican mural painting, José Imogen Cunningham, Edward Weston, Clemente Orozco, Diego Rivera, and and others. This companion exhibition David Alfaro Siqueiros, but also Rufino incorporates works on paper by Rive- Tamayo, Francisco Zúñiga, and several ra and Siqueiros collected by the Ball artists from subsequent generations, family and spotlights the Indiana paint- including Frida Kahlo and Leonora Car- ers Carolyn Bradley and Howard Leigh, rington. An illustrated catalog, written in who were inspired by the imagery, histo- both English and Spanish, accompanies ry, culture, and people of Mexico. the exhibition. In addition, Gregorio Luke, a re- Dr. Richard Zapanta was a fourth-gener- nowned specialist on Mexican art ation Mexican-American who amassed and former director of the Muse- an art collection over more than 25 years um of Latin American Art in Long as a way to reconnect with his cultural roots. Dr. Zapanta and his Beach, California, will present the Edmund F. Petty Memorial widow Rebecca established close friendships with many of the art- Lecture about the exhibition on Thursday, March 12. Luke has ists they collected, such as Rodolfo Morales and Raúl Anguiano, researched the Zapanta Collection extensively and written often inviting them to their home in California and spending time Mexican Modernity’s illustrated catalogue, which will be available Rafael Coronel, Mexican (1931 – 2019), with them in Mexico. The exhibition was organized by the Cornell for purchase at the museum throughout the semester. Street Performers II (Carperos II), Fine Arts Museum at Rollins College in Winter Park, Florida, and 1980, oil on canvas, Collection of Dr. Zapanta. will subsequently travel to the McClung Museum of Natural History and Culture at the University of Tennessee, Knoxville. –RGL Ball State University | David Owsley Museum of Art 5 PROGRAM CALENDAR EDUCATOR AND EXPRESS TALK: FINAL FRIDAY: BRIDGES FRIENDS OVERVIEW AFRICAN AMERICAN Friday, 6 – 9 pm FEB Monday, 4 pm FEB ARTISTS MAR Wednesday, 12 noon Ball State faculty, area Enjoy museum late hours schoolteachers, and Join Denise Mahoney, for viewing the collection 03 DOMA Friends members 19 collection manager and 27 and special exhibition, are invited to enjoy registrar, for a short PechaKucha talks with a private tour of the exhibition conversation about current works on local emcees, an artist Mexican Modernity with Dr. Robert view in honor of Black History Month demonstration, music with DJ Jannell, La France, DOMA’s director. in the Contemporary Craft Gallery. refreshments, cash bar, and more. One CEU available for K-12 teachers. Space is limited; register and pay MEXICAN MODERNITY ALLIANCE LUNCHEON online at bsu.edu/doma/exhibitions: FOR HIGH SCHOOLERS APR AND PROGRAM Free for Friends members, Ball State FEB Wednesday, 10 am – 2 pm Wednesday, 12 noon faculty, and MCS teachers and In collaboration with teens “Using the Lens of administrators; $5 for other educators and teachers, high school Japanese Ceramics to 26 students will explore the 08 Appreciate Native Clays” Judy Wojcik, associate 20TH-CENTURY special exhibition Mexican MEXICAN ART IN Modernity in Spanish and/or English. professor of art at Earlham College in FEB REVIEW High school art and Spanish teachers Richmond will compare ceramics from Sunday, 2:30 pm contact Cathy Bretz, education various regions of Japan in DOMA’s coordinator, [email protected] to collection to the work of potters in the Join Dr. Michelle Duran, reserve space for your class. Open to United States who seek an aesthetic 09 assistant professor of homeschoolers, too. Space is limited. honesty to materials, processes, and art, Ball State University the environment. School of Art, who will lead a tour of Register at bsu.edu/doma/alliance by April 3. FEBRUARY 29 – MARCH 8 the exhibition based on her research First-time guests free; $20 for Alliance members. on modern Mexican painting and DOMA will be closed to the public for Spring Break. popular
Recommended publications
  • Gallery of Mexican Art
    V oices ofMerico /January • March, 1995 41 Gallery of Mexican Art n the early the 1930s, Carolina and Inés Amor decided to give Mexico City an indispensable tool for promoting the fine arts in whatI was, at that time, an unusual way. They created a space where artists not only showed their art, but could also sell directly to people who liked their work. It was a place which gave Mexico City a modem, cosmopolitan air, offering domestic and international collectors the work of Mexico's artistic vanguard. The Gallery of Mexican Art was founded in 1935 by Carolina Amor, who worked for the publicity department at the Palace of Fine Arts before opening the gallery. That job had allowed her to form close ties with the artists of the day and to learn about their needs. In an interview, "Carito" —as she was called by her friends— recalled a statement by the then director of the Palace of Fine Arts, dismissing young artists who did not follow prevailing trends: "Experimental theater is a diversion for a small minority, chamber music a product of the court and easel painting a decoration for the salons of the rich." At that point Carolina felt her work in that institution had come to an end, and she decided to resign. She decided to open a gallery, based on a broader vision, in the basement of her own house, which her father had used as his studio. At that time, the concept of the gallery per se did not exist. The only thing approaching it was Alberto Misrachi's bookstore, which had an The gallery has a beautiful patio.
    [Show full text]
  • David Alfaro Siqueiros's Pivotal Endeavor
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-15-2016 David Alfaro Siqueiros’s Pivotal Endeavor: Realizing the “Manifiesto de New York” in the Siqueiros Experimental Workshop of 1936 Emily Schlemowitz CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/68 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] David Alfaro Siqueiros’s Pivotal Endeavor: Realizing the “Manifiesto de New York” in the Siqueiros Experimental Workshop of 1936 By Emily Schlemowitz Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History Hunter College of the City of New York 2016 Thesis Sponsor: __May 11, 2016______ Lynda Klich Date First Reader __May 11, 2016______ Harper Montgomery Date Second Reader Acknowledgments I wish to thank my advisor Lynda Klich, who has consistently expanded my thinking about this project and about the study of art history in general. This thesis began as a paper for her research methods class, taken my first semester of graduate school, and I am glad to round out my study at Hunter College with her guidance. Although I moved midway through the thesis process, she did not give up, and at every stage has generously offered her time, thoughts, criticisms, and encouragement. My writing and research has benefited immeasurably from the opportunity to work with her; she deserves a special thank you.
    [Show full text]
  • Jazzamoart El Estado Chileno No Es Editor
    EXCELSIOR MIÉrcoles 27 DE MAYO DE 2015 Foto: CortesíaFoto: INAH PATRICIA LEDESMA B. TEMPLO MAYOR, NUEVO TIMÓN La arqueóloga Patricia Ledesma Bouchan fue designada ayer como nueva titular del Museo del Templo Mayor, en sustitución de Carlos Javier González. Así lo anunció el Instituto Nacional de Antropología e Historia mediante un comunicado, en el que destacó su labor en temas relacionados “con la gestión del patrimonio arqueológico y la divulgación del conocimiento científico”. [email protected] @Expresiones_Exc Foto: Cortesía Nuria Gironés El Estado chileno no es editor “Chile tiene que hacerse cargo de un problema estructural que se arrastra desde la dictadura militar (1973-1990), cuando se destruyó el tejido cultural por la censura”, dice en entrevista Marcelo Montecinos, presidente de la Cooperativa de Editores de La Furia. >4 Reaparece Jazzamoart Una obra de carácter vibrante, que a ritmo de pinceladas “se hace lumínica y cromática”, es lo que ofrecerá el pintor y escultor mexicano Francisco Javier Vázquez, mejor conocido como Jazzamoart, Revelan la trama acerca de la sustracción, en 1904, del llamado en su exposición Improntas, que M A PA se presenta a partir de ayer en el Lienzo de Tlapiltepec, patrimonio “extraviado” de México > 5 Museo Dolores Olmedo. >6 Foto: Cortesía Fundación Alfredo Harp Helú Oaxaca FOTOGALERÍA ESPECIAL Exposición Visita MULTI Galería Throckmorton Recintos celebran ¿Qué me pongo? MEDIA Exhiben en Nueva York imágenes Recomendaciones para Marcelino Perelló. 2 poco comunes de Frida Kahlo. la Noche de los Museos. 2: EXPRESIONES MIÉRCOLES 27 DE MAYO DE 2015 : EXCELSIOR ¿Qué me pongo? PALACIO DE CULTURA BANAMEX MARCELINO PERELLÓ El desastre que viene Retorna La jungla sudamericana no es únicamente el pulmón de la Tierra.
    [Show full text]
  • 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.
    [Show full text]
  • 6Th Grade Unit Plans
    HORIZON 6th GRADE ART Overarching Concept: CONNECTIONS ​ Essential Question: How does art connect to the world around me? ​ ------------------------------------------------------------------------------------------------- -Eye Self-Portrait How does art connect to the world around me? Students will begin art by practicing drawing a realistic eye in their sketchbook using at least five values with a pencil. They will continue by experimenting with blending colored pencils to create depth and realism. Students will create a self-portrait using their eye of any style to represent their identity. Students will use symbols, patterns, words and designs to express what makes them unique. Focus Question: How does art connect to the world around me? What is a self-portrait? How can I use symbols to express myself? Donut Oil Pastel Artwork How does art connect to the world around me? Students will create a realistic donut artwork using shading, blending and value with oil pastels. Students will investigate the American Pop Art style by analyzing the artwork of Wayne Thiebaud. Focus Question: How can I use blending and shading to create realism? What is Pop-Art? Academic Vocabulary: Pop Art, “to scale”, shading, blending, value, realism, highlight, repetition, unity, emphasis, evaluate, compare, contrast, Daily Art History and Art Criticism Sketchbook Assignments: Students will sketch, describe, analyze and critique a variety of artists and art forms from a broad cultural context. Students will also use their sketchbooks to practice and explore a wide variety of art techniques. ARTISTS: Frida Kahlo, Vincent Van Gogh, Wayne Thiebaud, Claes Oldenburg, Elizabeth Catlett, Auguste Rodin, Keith Haring, Expressive Figure Sculptures Focus Question: What is it like to be a young person in the 21st century? How can the human body show expression? What is proportion? How can I create a 3-D work of art that has balance? Academic Vocabulary: Proportion, sculpture, figure, evaluate, paper mache, expression, balance, Action Figure Paintings Ceiling Tile Designs .
    [Show full text]
  • 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.
    [Show full text]
  • Carlos Mérida 2019
    EXPOSICIONES INDIVIDUALES 1910 CARLOS MÉRIDA. Periódico El Economista. Guatemala. Guatemala. 1915 CARLOS MÉRIDA. Edificio Rosenthal. Guatemala, Guatemala. 1919 CARLOS MÉRIDA. El Diario de los Altos. Guatemala. Guatemala. 1920 INTROITO DE CARLOS MÉRIDA. Antigua Academia de Bellas Artes. México, D.F. 1926 CARLOS MÉRIDA. Academia Nacional de Bellas Artes. Guatemala. Guatemala. 1927 AQUARELLES/PEINTURES. Galerie Des Quatre Chemins. París, Francia. 1930 RECENT PAINTINGS AND AQUARELLES BY CARLOS MÉRIDA. Delphic Studios. Nueva York, NY, EUA. 1931 DIEZ ACUARELAS DE CARLOS MÉRIDA. Club de Escritores. México, D.F. 1932 CATORCE ACUARELAS RECIENTES. Galería Posada. México, D.F. 1935 PAINTINGS AND WATERCOLORS BY CARLOS MÉRIDA, CONTEMPORARY MEXICAN PAINTER. Katherine Kuh Gallery. Chicago, IL, EUA. 1936 MÉRIDA NEW OILS. Stendhal and Stanley Rose Galleries. Los Ángeles, CA, EUA. NEW PAINTINGS BY CARLOS MÉRIDA. Stendhal and Stanley Rose Galleries. Los Ángeles, CA, EUA. 1937 CARLOS MÉRIDA. Georgette Passedoit Gallery. Nueva York, NY, EUA. ÓLEOS, ACUARELAS, LITOGRAFÍAS DE CARLOS MÉRIDA. Departamento de Bellas Artes, Secretaría de Educación Pública. México, D.F. 1939 TEN VARIATIONS ON A MAYAN MOTIF. TEN PLASTIC CONCEPTS ON A LOVE THEME. The Katherine Kuh Gallery. Chicago, IL, EUA. TWENTY RECENT PAINTINGS. TEN VARIATIONS ON A MAYAN MOTIF. TEN PLASTIC CONCEPTS ON A LOVE THEME. Georgette Passedoit Gallery. Nueva York, NY, EUA. VEINTE PINTURAS RECIENTES. DIEZ VARIACIONES SOBRE UN ANTIGUO MOTIVO MAYA. DIEZ CONCEPTOS PLÁSTICOS SOBRE UN TEMA DE AMOR. Galería de Arte UNA. México, D.F. 1940 COLORED DRAWINGS, EIGHT VARIATIONS ON A MAYAN MOTIF, AND EIGHT PLASTIC CONCEPTS ON A LOVE THEME. Witte Memorial Museum. San Antonio, TX, EUA. 1942 EL CORRIDO DE LA MUSARAÑA, LA CUCAÑA Y LA CARANTOÑA.
    [Show full text]
  • Exhibition Backgrounder
    ^ Exhibition Backgrounder Exhibition: Rufino Tamayo: Innovation and Experimentation On View: December 21, 2019–July 11, 2020 | Saturdays, 1–4 pm Location: Charles White Elementary School | 2401 Wilshire Boulevard, Los Angeles, CA 90057 Image captions on page 3 The Los Angeles County Museum of Art (LACMA) presents Rufino Tamayo: Innovation and Experimentation. Rufino Tamayo (1899–1991) was a leading Mexican artist of the 20th century who achieved international acclaim. Though he was known primarily for his paintings and murals, he also created a robust body of works on paper, which provided an important avenue for formal and technical innovation. Drawn exclusively from LACMA’s holdings, the exhibition highlights Tamayo’s engagement with printmaking and also includes a selection of Mesoamerican sculpture (an important source of inspiration for the artist) from the museum’s collection. Spanning over 60 years of his prolific career, Rufino Tamayo: Innovation and Experimentation focuses on Tamayo’s longstanding interest in prints as a means of exploring new techniques and furthering experimentation. On view December 21, 2019–July 11, 2020, the exhibition is presented at LACMA’s art gallery at Charles White Elementary School. The exhibition is curated by Rachel Kaplan, LACMA’s assistant curator of Latin American art. As part of the exhibition, Los Angeles-based artist Raul Baltazar will be working with the Charles White Elementary School students on a collaborative art installation inspired by Tamayo’s artwork. The installation will be a work in progress through the end of the 2019–20 school year. Baltazar is an alumnus of Otis College of Art and Design, formerly located at what is now Charles White Elementary School.
    [Show full text]
  • 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.
    [Show full text]
  • Surrealism and Feminism from France to Mexico, 1914-1972
    Elizabethtown College JayScholar History: Student Scholarship & Creative Work History Spring 2019 Surrealism and Feminism from France to Mexico, 1914-1972 Emily Wieder Elizabethtown College, [email protected] Follow this and additional works at: https://jayscholar.etown.edu/hisstu Part of the History Commons Recommended Citation Wieder, Emily, "Surrealism and Feminism from France to Mexico, 1914-1972" (2019). History: Student Scholarship & Creative Work. 5. https://jayscholar.etown.edu/hisstu/5 This Student Research Paper is brought to you for free and open access by the History at JayScholar. It has been accepted for inclusion in History: Student Scholarship & Creative Work by an authorized administrator of JayScholar. For more information, please contact [email protected]. Wieder 1 Contents Introduction ..................................................................................................................................... 2 Chapter I. 1919-1929: Founding the Movement............................................................................. 7 Chapter II. 1930-1939: Engaging for the Proletariat .................................................................... 12 Chapter III. 1940-1949: Resisting Intrusion ................................................................................. 26 Conclusion .................................................................................................................................... 36 Bibliography ................................................................................................................................
    [Show full text]
  • THE PAINTINGS of DIEGO RIVERA & FRIDA KAHLO in MOVEMENT (Pdf)
    ENSAMBLES PROJECT DESCRIPTION The Paintings of Diego Rivera & Frida Kahlo in Movement Show This world premiere dance project is an in-depth analysis of the works of Diego Rivera and Frida Kahlo, which unearths elements inherent in Mexican culture that are deeply rooted in class differences. Director Zenón Barrón incorporates these into the language of dance in this selection of traditionally based choreographies by focusing on specific elements within the paintings. The dances described below are a small sample of what the show features. A key element that fuels the creativity and development of this project is based on the lives of Diego Rivera and Frida Kahlo, who were emblematic figures in Mexico’s political development in the mid 1900’s. Rivera was commissioned to paint several murals that reflected the political revolution of that era. Several of his paintings portrayed the rural farm worker whose only significance to the ruling class was to work the land. While many of these references echo the experiences of the Mexican community, the themes that both Kahlo and Rivera touched upon were so popular because they speak to our shared sense of compassion, justice, tradition, and unity. With our society becoming more diverse, and often more conflicted, these works represent our common struggles, and our shared joys. “Nude with Calla Lilies”, a 1944 painting by Diego Rivera, highlights his fascination with women in which Rivera illustrated in several of his paintings different concepts of Mexican Art, taking us to the fields where Calla Lilies grow. This piece, so vibrant and feminine, is adapted to the dance style of 1944 Mexico.
    [Show full text]
  • An Art Lover's
    A custom-designed tour by International Seminar Design, Inc. © for Smith College An Art Lover’s MEXICO Art, Archaeological & Architectural Treasures of Mexico City & Oaxaca NOVEMBER 9–16, 2018 INTERNATIONAL SEMINAR DESIGN, INC. | 4115 Wisconsin Avenue, NW, Suite 101, Washington, DC 20016 | (202) 244-1448 | [email protected] Recommended Tour Dates: November 9–16, 2018 DAY ACTIVITY ACCOMMODATION MEALS 1 USA to Mexico City Four Seasons D.F. D 2 Mexico City Four Seasons D.F. B, L 3 Mexico City Four Seasons D.F. B, L, R 4 Mexico City to Oaxaca Quinta Real B, L, D 5 Oaxaca Quinta Real B, L, R 6 Oaxaca Quinta Real B, L 7 Oaxaca Quinta Real B, L, D 8 Departure to USA — B B = Breakfast, L = Lunch, D = Dinner, R = Reception Suggested Custom Itinerary Friday, November 9 USA / Mexico City • Fly to Mexico City. • Transfer independently to the Four Seasons D.F., Mexico City’s most luxurious five-star hotel, ideally situated by the entrance of Chapultepec Park. • In the late afternoon, gather in the hotel’s lobby and walk to the incomparable National Anthropology Museum, probably the crown jewel of all Latin American cultural institutions. Our guide will provide a whirlwind tour of the very best relics and artworks from the many civilizations that thrived in various parts of Mexico, including the Olmecs, Aztecs, Maya, and Zapotecs. • Enjoy an elegant welcome dinner in the Four Season’s superb Zanaya restaurant on the private outdoor terrace. The food is mostly seafood from the state of Nayarit. The seasonings and the local “zarandeado” cooking style place this restaurant at the top of Mexico City’s list of best places to dine.
    [Show full text]