Art and the New Negro
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Miguel Covarrubias
Miguel Covarrubias: An Inventory of the Adriana and Tom Williams Art Collection of Miguel Covarrubias at the Harry Ransom Center Descriptive Summary Creator: Covarrubias, Miguel, 1904-1957 Title: Adriana and Tom Williams Art Collection of Miguel Covarrubias Dates: 1917-2006, undated Extent: 6 boxes, 12 flat file folders, 1 oversize print (184 items) Abstract: The Ransom Center's Adriana and Tom Williams Art Collection of Miguel Covarrubias is part of a larger collection of research material compiled by Covarrubias' biographer, Adriana Williams, and her husband Tom and is comprised of 169 original works and 15 posters. Call Number: Art Collection AR-00383 Language: English and Spanish Access: Open for research. Please note that a minimum of 24 hours notice is required to pull Art Collection materials to the Ransom Center's Reading and Viewing Room. Some materials may be restricted from viewing. To make an appointment or to reserve Art Collection materials, please contact the Center's staff at [email protected]. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. -
Georgia Douglas Johnson and Eulalie Spence As Figures Who Fostered Community in the Midst of Debate
Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Caroline Roberta Hill, B.A. Graduate Program in Theatre The Ohio State University 2019 Thesis Committee: Jennifer Schlueter, Adviser Beth Kattelman Copyright by Caroline Roberta Hill 2019 Abstract The Harlem Renaissance and New Negro Movement is a well-documented period in which artistic output by the black community in Harlem, New York, and beyond, surged. On the heels of Reconstruction, a generation of black artists and intellectuals—often the first in their families born after the thirteenth amendment—spearheaded the movement. Using art as a means by which to comprehend and to reclaim aspects of their identity which had been stolen during the Middle Passage, these artists were also living in a time marked by the resurgence of the Ku Klux Klan and segregation. It stands to reason, then, that the work that has survived from this period is often rife with political and personal motivations. Male figureheads of the movement are often remembered for their divisive debate as to whether or not black art should be politically charged. The public debates between men like W. E. B. Du Bois and Alain Locke often overshadow the actual artistic outputs, many of which are relegated to relative obscurity. Black female artists in particular are overshadowed by their male peers despite their significant interventions. Two pioneers of this period, Georgia Douglas Johnson (1880-1966) and Eulalie Spence (1894-1981), will be the subject of my thesis. -
Summer Art Acquisitions
COMMUNICATIONS & MARKETING VIRGINIA MUSEUM OF FINE ARTS 200 N. Boulevard I Richmond, Virginia 23220-4007 www.vmfa.museum/pressroom I T 804.204.2704 FOR IMMEDIATE RELEASE July 15, 2013 Summer Art Acquisitions The following artworks were approved by the VMFA Board of Trustees in June 2013. VMFA is a state agency and a public/private partnership. All works of art are purchased with private funds from dedicated endowments. After VMFA’s board approves proposed acquisitions on a quarterly basis, the art becomes the property of the Commonwealth of Virginia to protect, preserve, and interpret. 1. Head of a Herm, Augustan (late 1st c. BCE—early 1st century CE), marble, 19¾‖ (w/o base); 26¾‖ (w/base). Arthur and Margaret Glasgow Endowment. This beautifully carved image of a bearded god is VMFA’s first major acquisition of ancient art in recent years and a significant addition to the museum’s holdings of Greek and Roman sculpture. As a late Hellenistic or Roman creation based on an original from the mid-fifth century BCE, this sculpture reflects the esteem later generations of artists held for the art of classical Athens. The head came from a herm, a type of sculpture that consists of a head surmounting a tall pillar with projecting posts evoking arms and an erect phallus. Early herms had a sacred character and served as distance and boundary markers with the power to ward away evil. Later herms had different type of heads, including female heads and even portraits. The form of the herm has remained part of the visual vocabulary of Western art with a wide variety of adaptations. -
The Blue House: the Intimate Universe of Frida Kahlo
The Blue House: The Intimate Universe of Frida Kahlo “Never in life will I forget your presence. You found me torn apart and you took me back full and complete.” Frida Kahlo By delving into the knowledge of Frida Kahlo's legacy, one discovers the intense relationship that exists between Frida, her work and her home. Her creative universe is to be found in the Blue House, the place where she was born and where she died. Following her marriage to Diego Rivera, Frida lived in different places in Mexico City and abroad, but she always returned to her family home in Coyoacan. Located in one of the oldest and most beautiful neighborhoods in Mexico City, the Blue House was made into a museum in 1958, four years after the death of the painter. Today it is one of the most visited museums in the Mexican capital. Popularly known as the Casa Azul (the ‘Blue House’), the Museo Frida Kahlo preserves the personal objects that reveal the private universe of Latin America’s most celebrated woman artist. The Blue House also contains some of the painter’s most important works: Long Live Life (1954), Frida and the Caesarian Operation (1931), and Portrait of My Father Wilhelm Kahlo (1952), among others. In the room she used during the day is the bed with the mirror on the ceiling, set up by her mother after the bus accident in which Frida was involved on her way home from the National Preparatory School. During her long convalescence, while she was bedridden for nine months, Frida began to paint portraits. -
Annual Reports of the Town Officers of Hinsdale, N.H., for the Year
ai Reports t of the Town Officers HinSDRLE NEW HAMPSHIRE for the year ending DECEMBER 31 1946 « VA ijy^V, ANNUAL REPORTS OF THE Town Officers OF HINSDALE, N. H. FOR THE YEAR ENDING DECEMBER 31, 1946 THE ZION'S HILL PRESS HINSDALE N. H. 1947 z>szoi INDEX Bonded Debt 20 Cemetery Lot Fund 19 Cemetery Trust Funds 94 Detailed Statement of Expenditures 21 Fire Department 43 Highway Department 33 Municipal Court 56 Library Report 61 Library Trust Funds 99 Licensed Dogs 50 Public Health Nursing Association 58 Selectmen's Report 10 School Budget » 70 School District Financial Report 71 School Headmaster's Report 81 School Health Report 91 School Honor Roll 90 School Planning Committee 92 School Officers and Teachers 66 School, Table of Salaries 90 School Statistical Table 88 School Superintendent 85 School Treasurer 80 School Warrant - 68 Tax Collector 46 Town Budget 15 Town Clerk • 50 Town Officers 3 Town Poor 27 Town Treasurer 18 Town Warrant ^ Vital Statistics 101 Water & Sewer Works, Superintendent's Report 40 Welcome Home Committee 63 TOWN OFFICERS Moderator CLARENCE D. FAY Selectmen and Assessors JAMES G. SNOW Term expires 1947 CLIFFORD STEARNS Term expires 1948 FRANCIS E. MASON Term expires 1949 Town Clerk ELEANOR S. SMITH Town Treasurer ROGER F. HOLLAND Collector of Taxes GEORGE H. JONES Highway Agent WALTER H. BARRETT Water and Sewer Commissioners HOWARD I. STREETER Term expires 1947 ROBERT A. WEEKS Term expires 1948 WILLIAM S. KIMBALL Term expires 1949 Supervisors of Check List RAY L. FLETCHER WILLIAM E. WATSON ROBERT CUNNINGHAM Overseer of Charities HOWARD I. -
Selling Mexico: Race, Gender, and American Influence in Cancún, 1970-2000
© Copyright by Tracy A. Butler May, 2016 SELLING MEXICO: RACE, GENDER, AND AMERICAN INFLUENCE IN CANCÚN, 1970-2000 _______________ A Dissertation Presented to The Faculty of the Department of History University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _______________ By Tracy A. Butler May, 2016 ii SELLING MEXICO: RACE, GENDER, AND AMERICAN INFLUENCE IN CANCÚN, 1970-2000 _________________________ Tracy A. Butler APPROVED: _________________________ Thomas F. O’Brien Ph.D. Committee Chair _________________________ John Mason Hart, Ph.D. _________________________ Susan Kellogg, Ph.D. _________________________ Jason Ruiz, Ph.D. American Studies, University of Notre Dame _________________________ Steven G. Craig, Ph.D. Interim Dean, College of Liberal Arts and Social Sciences Department of Economics iii SELLING MEXICO: RACE, GENDER, AND AMERICAN INFLUENCE IN CANCÚN, 1970-2000 _______________ An Abstract of a Dissertation Presented to The Faculty of the Department of History University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _______________ By Tracy A. Butler May, 2016 iv ABSTRACT Selling Mexico highlights the importance of Cancún, Mexico‘s top international tourism resort, in modern Mexican history. It promotes a deeper understanding of Mexico‘s social, economic, and cultural history in the late twentieth century. In particular, this study focuses on the rise of mass middle-class tourism American tourism to Mexico between 1970 and 2000. It closely examines Cancún‘s central role in buttressing Mexico to its status as a regional tourism pioneer in the latter half of the twentieth century. More broadly, it also illuminates Mexico‘s leadership in tourism among countries in the Global South. -
Es Probable, De Hecho, Que La Invencible Tristeza En La Que Se
Surrealismo y saberes mágicos en la obra de Remedios Varo María José González Madrid Aquesta tesi doctoral està subjecta a la llicència Reconeixement- NoComercial – CompartirIgual 3.0. Espanya de Creative Commons. Esta tesis doctoral está sujeta a la licencia Reconocimiento - NoComercial – CompartirIgual 3.0. España de Creative Commons. This doctoral thesis is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 3.0. Spain License. 2 María José González Madrid SURREALISMO Y SABERES MÁGICOS EN LA OBRA DE REMEDIOS VARO Tesis doctoral Universitat de Barcelona Departament d’Història de l’Art Programa de doctorado Història de l’Art (Història i Teoria de les Arts) Septiembre 2013 Codirección: Dr. Martí Peran Rafart y Dra. Rosa Rius Gatell Tutoría: Dr. José Enrique Monterde Lozoya 3 4 A María, mi madre A Teodoro, mi padre 5 6 Solo se goza consciente y puramente de aquello que se ha obtenido por los caminos transversales de la magia. Giorgio Agamben, «Magia y felicidad» Solo la contemplación, mirar una imagen y participar de su hechizo, de lo revelado por su magia invisible, me ha sido suficiente. María Zambrano, Algunos lugares de la pintura 7 8 ÍNDICE INTRODUCCIÓN 13 A. LUGARES DEL SURREALISMO Y «LO MÁGICO» 27 PRELUDIO. Arte moderno, ocultismo, espiritismo 27 I. PARÍS. La «ocultación del surrealismo»: surrealismo, magia 37 y ocultismo El surrealismo y la fascinación por lo oculto: una relación polémica 37 Remedios Varo entre los surrealistas 50 «El giro ocultista sobre todo»: Prácticas surrealistas, magia, 59 videncia y ocultismo 1. «El mundo del sueño y el mundo real no hacen más que 60 uno» 2. -
Harlem Renaissance Special Points of Interest
Harlem Renaissance Special points of interest: The Harlem Renaissance was also know as the New Negro Movement. Plainfield Public Library Pathfinder September 2010 This captivating period of African American history began after Harlem Renaissance WWI and lasted until about 1935, in the mid- Do you have a special project for Black History dle of the Great involving ? Per- Depression. Month The Harlem Renaissance haps you are working on a college paper and are This great out flux of currently studying this very interesting and creative creativity, artistic period of American arts and letters. If you are start- expression, and ing a book club at home, and would like to begin it intellectualism repre- investing some time in this period of African Ameri- sented a marked can writing, can help concentration of pro- The Plainfield Public Library test, ideological you find the materials you need to form an outline advancement, and the for a discussion group. Or perhaps you saw a film furthering of civil rights or documentary on a title or author in this time peri- for African Americans. od, and you would like to simply find the printed ver- sion for your reading enjoyment. The goal of the move- ment was to create a Romare Bearden doubled disconnect between The Reference Department staff can help you find throughout his life as a social peoples’ perception of printed and electronic resources/items to enlighten worker by day and a visual African Americans and you about this time in American history, and the per- artist by night and weekends. those perpetuated by sonalities and talents that contributed to the flower- The prolific artist was a part mainstream American of the Harlem Artists Guild culture and its ing of African American arts and literature in the after studying art in NYC and institutions. -
Eye to I: Self-Portraits from the National Portrait Gallery on View June 12 to September 12
MASTERWORKS SPONSORSHIP OPPORTUNITIES Eye to I: Self-Portraits from the National Portrait Gallery On view June 12 to September 12. Drawing from the National Portrait Gallery’s vast collection, Eye to I will examine how artists in the United States have chosen to portray themselves since the beginning of the last century. The exhibition has been organized by the Smithsonian's National Portrait Gallery, Washington, D.C. and supported in part by Mr. and Mrs. Michael H. Podell. ALBUQUERQUE MUSEUM FOUNDATION To sponsor a MasterWork call Elaine Richardson 505.677.8491 or email [email protected] MASTERWORKS SPONSORSHIP OPPORTUNITIES Featured MasterWorks $1,000 – Pages 1-4 Paintings $500 – Pages 5-16 Prints, Photography, Drawings, and Watercolors $250 – Pages 17-60 ALBUQUERQUE MUSEUM FOUNDATION To sponsor a MasterWork call Elaine Richardson 505.677.8491 or email [email protected] MASTERWORKS FEATURED WORK• $1,000 Robert Rauschenberg 1925 Port Arthur, Texas – 2008 Captiva, Florida Autobiography 1968 offset lithograph National Portrait Gallery, Smithsonian Institution; the Ruth Bowman and Harry Kahn Twentieth-Century American Self- Portrait Collection NPG.2002.313 ALBUQUERQUE MUSEUM FOUNDATION To sponsor a MasterWork call Elaine Richardson 505.677.8491 or email [email protected] Page 1 MASTERWORKS FEATURED WORK • $1,000 Roger Shimomura born 1939 Seattle, Washington; lives Lawrence, Kansas Shimomura Crossing the Delaware 2010 acrylic on canvas National Portrait Gallery, -
Formative Mexican Chiefdoms and the Myth of the "Mother Culture"
Journal of Anthropological Archaeology 19, 1–37 (2000) doi:10.1006/jaar.1999.0359, available online at http://www.idealibrary.com on Formative Mexican Chiefdoms and the Myth of the “Mother Culture” Kent V. Flannery and Joyce Marcus Museum of Anthropology, University of Michigan, Ann Arbor, Michigan 48109-1079 Most scholars agree that the urban states of Classic Mexico developed from Formative chiefdoms which preceded them. They disagree over whether that development (1) took place over the whole area from the Basin of Mexico to Chiapas, or (2) emanated entirely from one unique culture on the Gulf Coast. Recently Diehl and Coe (1996) put forth 11 assertions in defense of the second scenario, which assumes an Olmec “Mother Culture.” This paper disputes those assertions. It suggests that a model for rapid evolution, originally presented by biologist Sewall Wright, provides a better explanation for the explosive development of For- mative Mexican society. © 2000 Academic Press INTRODUCTION to be civilized. Five decades of subsequent excavation have shown the situation to be On occasion, archaeologists revive ideas more complex than that, but old ideas die so anachronistic as to have been declared hard. dead. The most recent attempt came when In “Olmec Archaeology” (hereafter ab- Richard Diehl and Michael Coe (1996) breviated OA), Diehl and Coe (1996:11) parted the icy lips of the Olmec “Mother propose that there are two contrasting Culture” and gave it mouth-to-mouth re- “schools of thought” on the relationship 1 suscitation. between the Olmec and the rest of Me- The notion that the Olmec of the Gulf soamerica. -
Vanguards of the New Negro: African American Veterans and Post-World War I Racial Militancy Author(S): Chad L
Vanguards of the New Negro: African American Veterans and Post-World War I Racial Militancy Author(s): Chad L. Williams Source: The Journal of African American History, Vol. 92, No. 3 (Summer, 2007), pp. 347- 370 Published by: Association for the Study of African American Life and History Stable URL: http://www.jstor.org/stable/20064204 Accessed: 19-07-2016 19:37 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/20064204?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Association for the Study of African American Life and History is collaborating with JSTOR to digitize, preserve and extend access to The Journal of African American History This content downloaded from 128.210.126.199 on Tue, 19 Jul 2016 19:37:32 UTC All use subject to http://about.jstor.org/terms VANGUARDS OF THE NEW NEGRO: AFRICAN AMERICAN VETERANS AND POST-WORLD WAR I RACIAL MILITANCY Chad L. Williams* On 28 July 1919 African American war veteran Harry Hay wood, only three months removed from service in the United States Army, found himself in the midst of a maelstrom of violence and destruction on par with what he had experienced on the battlefields of France. -
Research Guide Frida Kahlo, Diego Rivera and Masterpieces of Modern Mexico
Research Guide Frida Kahlo, Diego Rivera and Masterpieces of Modern Mexico Book Display and Resource List | June 2013 Frida Kahlo (Mexican, 1907–1954). Diego en mi Diego Rivera (Mexican, 1886–1957). Vendedora de pensamiento (Diego on My Mind), 1943. Oil on alcatraces (Calla Lily Vendor), 1943. Oil on canvas, 59 x 47 Masonite, 29 7/8 x 24 inches. The Jacques and Natasha ¼ inches. The Jacques and Natasha Gelman Collection of Gelman Collection of 20th Century Mexican Art. The 20th Century Mexican Art. The Vergel Foundation. Vergel Foundation. Conaculta/INBA. © 2013 Banco de Conaculta/INBA. © 2013 Banco de México Diego Rivera México Diego Rivera Frida Kahlo Museums Trust, Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Mexico, D.F. / Artists Rights Society (ARS), New York. Society (ARS), New York. Jacques and Natasha Gelman were important collectors of 20th century art. Arriving in Mexico as Eastern European immigrants, they fell in love with their adopted homeland and built a collection of Mexican modern art by acquiring the works of major artists including Frida Kahlo, Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco, as well as many others. The twentieth century was a tumultuous time in Mexican art and history. During this period after the Mexican Revolution, Mexican artists created a new Mexican aesthetic through exploration of styles like social realism, surrealism, abstraction and conceptualism and by incorporating a uniquely Mexican iconography. This bibliography includes titles about the Gelman’s collection as well as books exploring the lives and art of several artists represented in this collection. To contextualize this collection, titles on modern art in Mexico and Mexican history in the twentieth century are included in the section Explore More.