A Day in Guadalajara"
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Mexico's Indigenous and Folk Art Comes to Chapala
Mexico’s indigenous and folk art comes to Chapala Each year Experience Mex‐ECO Tours promotes a trip which we call the ‘Chapala Artisan Fair’, but this is much more than just a shopping trip; so what’s it really all about? The Feria Maestros del Arte (Masters of Art Fair) is the name given to this annual event in Chapala, and also the name of the non‐profit organization which puts in an incredible amount of work to make it happen. In 2002 an amazing lady called Marianne Carlson came up with the idea of bringing some of the artists and artisans she came across in rural Mexico to Ajijic to sell their high quality traditional work. After a successful first fair, with 13 artists being very well received by the public, Marianne decided to make this an annual event. Providing an outlet for traditional Mexican artists and artisans to sell their work, the Feria Maestros del Arte has provided many families with the opportunity to continue creating Experience Mex‐ECO Tours S.A. de C.V. | www.mex‐ecotours.com | info@mex‐ecotours.com their important cultural representations by allowing them to pursue this as a career, rather than seeking alternative employment. Here is their mission as a non‐profit organization: “To preserve and promote Mexican indigenous and folk art. We help preserve these art forms and the culture that produces them by providing the artists a venue to sell their work to galleries, collectors, museums and corporations. We promote regional and international awareness to the value of these endangered arts.” The efforts made by the Feria committee and its many volunteers mean that the artists and artisans not only have a chance to generate more income in a few days than they may otherwise generate in a year, but also the chance to be recognized by buyers and collectors from around the world. -
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. -
V6n12-W68-Dec-1923-Liberator.Pdf
Floyd Dell-We Are Proud 01 You! And You, Dear Beader, will be too when you read "JANET MARCR" You have relished with us Floyd Dell's unsurpassable book reviews. You have read his excellent contributions in the Liberator. The best of them all, "Literature and th~ Machine Age" is running now serially in The Liber ator. I am sure when you open this magazine each month that is the first thing you tum to. You know Floyd Dell thru his writings in the Liberator and you admire him. But, candidly, h~ new book Janet March is a great novel! It is about people that live TODAY. You see yourself, I see myself in it-his people are confronted with the problems that you and I are confronted with every day of our lives. We feel with them because they are we, and we are they. And our heroine, quivering, pulsating, healthy, stimulating, refreshing Janet March. An atom of life develops into a human being before your mind's eye and you fQllow its growth and development. Janet March brings with her all her inherited traditions and she absorbs all the influences of her own age-she learns by living. Thru her we witness the clash between old and new values in life. She is a sane and well balanced individual of whom we are always proud. She accepts life as she finds it and. she is determined to fit in-but always :she is honest with herself and at the ,upreme moment she leaps because she: wants to and-lands on her feet~ Tho you see in her, all girlhood and womanhood wrapped into one, she is nevertheless a person ality unto herself, she is JANET MARCH. -
An Analysis of the Perceptions Held by School Personnel of Arts Programs in One School District
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1986 An analysis of the perceptions held by school personnel of arts programs in one school district. Gloria Caballer-Arce University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Caballer-Arce, Gloria, "An analysis of the perceptions held by school personnel of arts programs in one school district." (1986). Doctoral Dissertations 1896 - February 2014. 4067. https://scholarworks.umass.edu/dissertations_1/4067 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. AN ANALYSIS OF THE PERCEPTIONS HELD BY SCHOOL PERSONNEL OF ARTS PROGRAMS IN ONE SCHOOL DISTRICT A Dissertation By GLORIA CABALLER ARCE Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION May 1986 Education Gloria Caballer Arce 1986 All Rights Reserved AN ANALYSIS OF THE PERCEPTIONS HELD BY SCHOOL PERSONNEL OF ARTS PROGRAMS IN ONE SCHOOL DISTRICT A Dissertation By GLORIA CABALLER ARCE Approved as to style and content by: Luis Fuentes, Chairperson of Committee / f Sonia.Nieto, Member Josephus V.O. Richards, Member Mario D. Fantir/i, D< School of Education To Miguel 1\on IvU i,tnengtk, love, and limitte** undent landing duAlng ttvU dififiicult pnoce64 and Anaida a lifetime &nlend and the bat note model any woman could even have iv ACKNOWLEDGEMENTS I wish to express my deep appreciation to the Chairperson of my Committee, Dr. -
Diego Rivera's Revival of Encaustic Painting
Expression and Sensibility. Art Technological Sources and the Rise of Modernism Christoph Krekel, Joyce H. Townsend, Sigrid EybGreen, Jo Kirby, Kathrin Pilz (eds) ISBN: 9781909492561 Binding: Paperback Dimensions: 297 x 210 Pages: 156 The period between 1850 and 1940 is characterised by completely new artistic ideas and concepts as well as the introduction of many new products such as tubes of oil, tempera-based paints, synthetic organic pigments etc. offered by artists’ colourmen, and industrial product ranges including metallic pigments. Some artists – often unfamiliar with the technical properties and qualities of ready-made products – reacted to these developments by introducing innovative artistic techniques while others reintroduced technical concepts that were considered obsolete by established institutions, or originated from non-European civilisations. There was a revival of interest in medieval and antique art technological sources, and German paint technologists in particular became involved with artists’ materials, their use and studies of their material properties. Diego Rivera’s revival of encaustic painting: the use of wax in Mexican avant-garde painting Sandra Zetina ABSTRACT In 1921 Diego Rivera travelled through Italy to study Renaissance, Byzantine and ancient Roman mural paint- ings and mosaics. Back in Mexico, he was commissioned by the Ministry of Education to paint murals on the walls of the National Preparatory School. Trying to recover some of the optical advantages and the aura of the encaustic technique, Rivera used this material to paint La Creación based on his study of the colour used in Eugène Delacroix’s paintings in Saint Sulpice, Paris. Likewise, Gerardo Murillo, better known as ‘Dr Atl’, created a type of solid oil crayon, the Atl-colours, which were made from a mixture of waxes and resins similar to those used for the encaustic technique. -
Memoria Del Simposio Nuevas Miradas a Los Murales De La Secretaría De Educación Pública Andrés Manuel López Obrador Presidente De Los Estados Unidos Mexicanos
Memoria del Simposio Nuevas miradas a los murales de la Secretaría de Educación Pública Andrés Manuel López Obrador Presidente de los Estados Unidos Mexicanos Esteban Moctezuma Barragán Secretario de Educación Pública Memoria del Simposio Nuevas miradas a los murales de la Secretaría de Educación Pública Secretaría de Educación Pública Primera edición, 2018 D. R. © Secretaría de Educación Pública República de Argentina 28, colonia Centro, delegación Cuauhtémoc, C. P. 06020, Ciudad de México. D. R. © 2018 Banco de México en su carácter de Fiduciario en el Fideicomiso relativo a los Museos Diego Rivera y Frida Kahlo. Av. 5 de mayo 2, colonia Centro, delegación Cuauhtémoc, C. P. 06000, Ciudad de México. Solicitud registrada ISBN (en trámite) versión electrónica © De los textos. Renato Gozález Mello, Daniel Vargas Parra, Claudia Garay Molina, Itzel A. Rodríguez Mortellaro, Julieta Ortiz Gaitán, Luis Vargas Santiago, Michelle Greet, Ana Torres Arroyo, Natalia de la Rosa, Sandra Zetina Ocaña y Mary K. Coffey Imagen de portada: La danza de los listones, Diego Rivera, 1923-1924. Fresco 4.48 x 3.66 m, muro norte, Patio de las Fiestas, planta baja. Queda prohibida la reproducción parcial o total de esta obra, por cualquier forma, medio o procedimiento, sin la autorización por escrito de los titulares de los derechos respectivos. Hecho e impreso en México Memoria del Simposio Nuevas miradas a los murales de la Secretaría de Educación Pública Presentación urante los meses de octubre y noviembre de 2018, la Secretaría de Educación Pública (SEP) llevó a cabo una serie de actividades en el marco de los festejos por los noventa años de la Dconclusión de los murales ubicados en el recinto de la SEP. -
José Clemente Orozco O David Alfaro Siqueiros, Si Bien Su Obra No Posee Un Enfoque Tan Político Como La De Estos
Carlos Orozco Romero (1898-1984) Carlos Orozco Romero (Guadalajara, Jalisco, 1896 - Ciudad de México, 1984) fue un pintor y muralista tapatío destacado por sus trabajos en el extranjero y premiado internacional y nacionalmente. Nació el 3 de septiembre de 1896 en Guadalajara, Jalisco, donde estudió primeramente con los maestros Luis de la Torre y Félix Bernardelli. Inicialmente dedicado a la caricatura en periódicos como El Heraldo de México, Excélsior, El Universal Ilustrado y la Revista de Revistas, pronto pasó a dedicarse a la pintura. En 1916 inició sus actividades artísticas y se integró a un grupo de pintores independientes que se llamó Centro Bohemio en el que participaron David Alfaro Siqueiros, Amado de la Cueva, José Guadalupe Zuno, Alfredo Romo, Javier Guerrero y otros. En ese mismo año se inició como caricaturista, colaborando con varios periódicos de su ciudad natal. En 1921 se trasladó a Europa, becado por el gobierno estatal, donde formó parte en el Salón de Otoño en Madrid. En 1932, fundó con Carlos Mérida la Escuela de Danza del Instituto Nacional de Bellas Artes. Fue director del Museo de Arte Moderno de México entre 1962 y 1964. Sus obras se expusieron tanto en México como en el extranjero: en concreto, participó en las bienales XXIX de Venecia en 1958 y XV de la Acuarela Internacional de Pittsburg en 1968. Sus últimas exposiciones tuvieron lugar en el Museo de Arte Contemporáneo de Monterrey, en 1978 y 1980, año en el que fue premiado con Premio Nacional de Ciencias y Artes en el área de Bellas Artes. Murió en 1984, en la Ciudad de México. -
M U R a L I S M Identity & Revolution January 30 - February 29, 2020
M U R A L I S M Identity & Revolution January 30 - February 29, 2020 1.XXX Tina Modotti XXX Diego Rivera Mural, "The World Today and Tomorrow", Palacio Nacional, Mexico City 1929-1935 Gelatin Silver Print 7 3/8 x 9 1/2 in. n.s (Inv# 73859) 2.XXX Tina Modotti XXX "Sickle, Bandolier & Guitar" ca. 1927 Platinum print 6 7/8 in. x 8 3/4 in. 5/30 Signed, titled and dated on recto and verso (Inv# 64908) 3.XXX Edward Weston XXX Tina Reciting 1926 Gelatin silver print, printed later 9 1/2 x 7 1/4 in. Printed by Cole Weston (Inv# 32799) 4.XXX Florence Arquin XXX Frida Kahlo with Corset Painted with Fetus and Hammer & Sickle. 1951 Gelatin silver print 10 x 8 in. n.s (Inv# 60897) 5.XXX Lucienne Bloch XXX Frida in Front of Proletarian Unity from the mural "Portrait of America" for the New Workers School, NY 1933 Gelatin Silver Print 11 1/2 x 7 1/2 in. Signed in pencil on recto (Inv# 76522) 6.XXX Anonymous XXX Mural by David Alfaro Siqueiros, De Porfirismo a la Revolucion (From the Dictatorship of Porfirio Díaz to the Revolution) Chapultepec Castle, Chapultepec Park, Mexico City 1944 Gelatin silver print 8 x 10 in. Labeled on verso (Inv# 60001) 7.XXX Guillermo Zamora XXX David Alfaro Siqueiros 1946 Gelatin silver print 13 1/2 x 10 1/2 in. n.s (Inv# 100769) 8.XXX Héctor García XXX José Clemente Orozco 1945 Gelatin silver print, printed 1996 14 x 11 in. -
David Alfaro Siqueiros, Manifiesto
DAVID ALFARO SIQUEIROS, MANIFIESTO Manifiesto que el mismo Siqueiros redacto con su puño y letra en 1923, por encargo del Sindicato de Trabajadores Técnicos, Pintores y Escultores recién formado: “Nuestra meta estética fundamental –dice- es socializar la expresión artística…. repudiamos la pintura de caballete y todo el arte de los círculos intelectuales, porque es aristocrático, y glorificamos la expresión del Arte Monumental porque es una propiedad pública. Proclamamos que dado el momento social, que es transición entre un orden decrépito y uno nuevo, los creadores de belleza deben realizar sus mayores esfuerzos para hacer una producción con un valor ideológico para el pueblo, y la meta ideal del arte, que actualmente es una expresión de masturbación individualista, sea de arte para todos, de educación y batalla.” El Manifiesto , dirigido al pueblo humillado durante siglos, a los soldados transformados por sus jefes en verdugos, a los obreros y a los campesinos tratados a fuerza de fuete por los ricos , y a los intelectuales que no adulan a la burguesía, fue suscrito por todos los miembros del Sindicato encabezados por Diego Rivera, José Clemente Orozco, Xavier Guerrero, Fermín Revueltas, Amado de la Cueva, Jean Charlot, Roberto Montenegro, Carlos Mérida, Alva de la Canal y Fernando Leal. 1 www.tecnne.com [email protected] Todos los artículos de TECNNE se encuentran bajo la licencia Creative Comons Estos artistas son los mismos que realizaron la primera gran empresa muralista mexicana, ejecutada en la Escuela Nacional Preparatoria, una institución laica, fundada en 1800. Fue Diego Rivera el que los guió por este nuevo camino figurativo, iniciando un mural con el tema Creación tratado, naturalmente, según una interpretación alegórica profana. -
Redalyc.Representaciones Y Expresiones De Lo Mexicano En Los Muralistas De La Primera Generación
Contribuciones desde Coatepec ISSN: 1870-0365 [email protected] Universidad Autónoma del Estado de México México Sánchez-López, Indira Representaciones y expresiones de lo mexicano en los muralistas de la primera generación Contribuciones desde Coatepec, núm. 24, enero-junio, 2013, pp. 67-83 Universidad Autónoma del Estado de México Toluca, México Disponible en: http://www.redalyc.org/articulo.oa?id=28126456009 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 CoatepecContribuciones desde ISSN: 1870-0365, AÑO X ii , NÚMERO 24, E N ERO -JU ni O 2013, PÁG ina S 67-83. Representaciones y expresiones de lo mexicano en los muralistas de la primera generación Representations and Expressions of “Mexican” in the First Generation of Muralists INDIRA SÁNC H EZ -LÓ P EZ * Resumen: El movimiento muralista mexicano, que tuvo sus orígenes en la etapa posrevolucionaria y fue impulsado por José Vasconcelos, se convirtió en una expresión artística cuyas obras expusieron contenidos que enfatizaban lo nacional y lo mexicano. En ellas se puede encontrar un amplio repertorio iconográfico del que destacan escenas alusivas a la historia nacional y a la vida popular. Entre los prin- cipales exponentes de la primera generación de muralistas se encuentran: Diego Rivera, David Alfaro Siqueiros, Fermín Revueltas, Fernando Leal, Jean Charlot, Amado de la Cueva y Roberto Montenegro, artistas que en sus murales plasmaron paisajes, personajes, acontecimientos y demás escenarios, cuyos componentes pretenden ser un reflejo de lo nacional, para lo cual rescataron, en sus representaciones, símbolos y formas relacionadas con la identidad mexicana. -
The Living Camera in the Ritual Landscape: the Teachers of the Tatuutsi Maxakwaxi School, the Wixárika Ancestors, and the Teiwari Negotiate Videography
Journal of Ethnology and Folkloristics 11 (1): 39–64 DOI: 10.1515/jef-2017-0004 THE LIVING CAMERA IN THE RITUAL LANDSCAPE: THE TEACHERS OF THE TATUUTSI MAXAKWAXI SCHOOL, THE WIXÁRIKA ANCESTORS, AND THE TEIWARI NEGOTIATE VIDEOGRAPHY LEA KANTONEN Professor of Artistic Research Academy of Fine Arts, University of the Arts Helsinki Elimäenkatu 25 A, Helsinki P.O. Box 10, 00097 Uniarts, Finland Postdoctoral Researcher Foundation for Cultural Policy Research Pitkänsillanranta 3B 00530 Helsinki, Finland e-mail: [email protected] PEKKA KANTONEN Doctoral Student Academy of Fine Arts, University of the Arts Helsinki Elimäenkatu 25 A, Helsinki P.O. Box 10, 00097 Uniarts, Finland e-mail: [email protected] ABSTRACT In this article, we outline the meanings modern Wixárika institutions, such as the school and the museum, may receive as parts of ritual landscape and how the community-based videos shot in the context of these institutions may increase our understanding of ritual landscapes in general. We discuss how ritual landscape can be researched using community-based documentary video art in a way that takes the ontological conceptions of the human and non-human relations of the community seriously. In this case, we understand community-based video art as artistic research in which the work is produced with the community for the com- munity. The making of art, discussed in this article, is a bodily activity as it includes walking with a camera in the Wixárika ritual landscape, interviewing people for the camera, and documenting the work and rituals of the pupils, teachers, and the mara’akate (shaman-priests) planning the community-based museum. -
NACCS 2019 Proceedings Complete
San Jose State University SJSU ScholarWorks 2019 Indigenous Knowledge for Resistance: NACCS Annual Conference Proceedings Lecciones from Our Past Apr 1st, 12:00 PM NACCS 2019 Proceedings Complete Linda Heidenreich Washington State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/naccs Part of the Gender and Sexuality Commons, and the Race and Ethnicity Commons Heidenreich, Linda, "NACCS 2019 Proceedings Complete" (2019). NACCS Annual Conference Proceedings. 5. https://scholarworks.sjsu.edu/naccs/2019/Proceedings/5 This Conference Proceeding is brought to you for free and open access by the National Association for Chicana and Chicano Studies Archive at SJSU ScholarWorks. It has been accepted for inclusion in NACCS Annual Conference Proceedings by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. Indigenous Knowledge for Resistance, Love, and Land: Lecciones for our Children, for our Future” Selected Proceedings of the 2019 Meeting of the National Association for Chicana and Chicano Studies Edited by L. Heidenreich, María González, Francisco Villegas, and Samantha Manz CONTENTS INTRODUCTION “Indigenous Knowledge for Resistance”: Lecciones from Our Past L.Heidenreich .......................................................................................................................... 1 PART ONE: Flourishing of the Nations Chair-Elect Welcome Letter Karleen Pendleton Jiménez ...................................................................................................