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President's Letter Annual
ASSOCIATION FOR LATIN AMERICAN ART PRESIDENT’S LETTER ANNUAL MEETING, CAA CHICAGO 2014 2014 ARVEY BOOK AWARD Past Presented: Archaeological Illustration and the Ancient Americas NEW BOOKS Buen Gusto and Classicism in the Visual Cultures of Latin America, 1780-1910 The Art of Professing in Bourbon Mexico: Crowned-Nun Portraits and Reform in the Convent EXHIBITIONS Between Mountains and Sea: Arts of the Ancient Andes “Una cualidad lírica de un encanto duradero”: La pintura norteamericana y chilena en el Centenario de Chile, 1910 ASARO—Asamblea de Artistas Revolucionarios de Oaxaca Latin American and Latino Art at the Allen Samba Spirit: Modern Afro Brazilian Art Central American Modern Masters Monika Weiss: Sustenazo (Lament II) CONFERENCES & PANEL DISCUSSIONS MEMBER HONORS & AWARDS ALAA BOOK & DISSERTATION AWARD COMPETITIONS PUBLICATION & EMPLOYMENT OPPORTUNITIES NEWSLETTER VOLUME 26 No. 01 APRIL 2014 Elisa C. Mandell | President [email protected] Department of Visual Arts California State University, Fullerton P.O. Box 6850 Fullerton, CA 92834-6850 Michele Greet | Vice-President [email protected] Department of History and Art History MS 3G1, George Mason University 4400 University Drive Fairfax, VA 22030 Ananda Cohen Suarez | Secretary-Treasurer [email protected] History of Art Department GM08 Goldwin Smith Hall Cornell University Ithaca, NY 14853-3201 Patrick Hajovsky | Websmaster & Newsletter Editor [email protected] Department of Art and Art History Southwestern University Georgetown, TX 78626 Maya S. Stanfield-Mazzi | Listserv Manager [email protected] School of Art and Art History University of Florida 123 Fine Arts Building C PO Box 115801 Gainesville, FL 32611-5801 Lacy Vain | Newsletter Designer [email protected] NEWSLETTER VOLUME 26 No. -
The Bilimek Pulque Vessel (From in His Argument for the Tentative Date of 1 Ozomatli, Seler (1902-1923:2:923) Called Atten- Nicholson and Quiñones Keber 1983:No
CHAPTER 9 The BilimekPulqueVessel:Starlore, Calendrics,andCosmologyof LatePostclassicCentralMexico The Bilimek Vessel of the Museum für Völkerkunde in Vienna is a tour de force of Aztec lapidary art (Figure 1). Carved in dark-green phyllite, the vessel is covered with complex iconographic scenes. Eduard Seler (1902, 1902-1923:2:913-952) was the first to interpret its a function and iconographic significance, noting that the imagery concerns the beverage pulque, or octli, the fermented juice of the maguey. In his pioneering analysis, Seler discussed many of the more esoteric aspects of the cult of pulque in ancient highland Mexico. In this study, I address the significance of pulque in Aztec mythology, cosmology, and calendrics and note that the Bilimek Vessel is a powerful period-ending statement pertaining to star gods of the night sky, cosmic battle, and the completion of the Aztec 52-year cycle. The Iconography of the Bilimek Vessel The most prominent element on the Bilimek Vessel is the large head projecting from the side of the vase (Figure 2a). Noting the bone jaw and fringe of malinalli grass hair, Seler (1902-1923:2:916) suggested that the head represents the day sign Malinalli, which for the b Aztec frequently appears as a skeletal head with malinalli hair (Figure 2b). However, because the head is not accompanied by the numeral coefficient required for a completetonalpohualli Figure 2. Comparison of face date, Seler rejected the Malinalli identification. Based on the appearance of the date 8 Flint on front of Bilimek Vessel with Aztec Malinalli sign: (a) face on on the vessel rim, Seler suggested that the face is the day sign Ozomatli, with an inferred Bilimek Vessel, note malinalli tonalpohualli reference to the trecena 1 Ozomatli (1902-1923:2:922-923). -
Michoacanc SECTUR
AMOR A LA MICHOACANA - LOVE MICHOACAN STYLE - WELCOME Romance Tourism is very significant for Mexican destinations, because of the positive impact it has on the local economy, integrating the entire network of resources that makes this industry possible. Currently, Romance Tourism is an efficient industry to accelerate the economical growth of many communities in our country, help modernize the infrastructure, boost the economy, promote our cultural resources, balance the social equality and support sustainability. This segment covers not only destination weddings, but also proposals, bachelor and bachelorette parties, honeymoons, wedding anniversaries, vows renewals, last trip before the baby's birth (Babymoon), second nuptials, travel with the family (Family- Moon) and a new niche that is growing exponentially with the current epidemiological and economic conditions, which are elopement weddings. In Mexico, year after year the network of resources throughout our destinations are specializing in this segment, holding a significant number of destination weddings annually. While the favorite setting for couples has been our beautiful beaches, the new generations are being attracted to colonial and adventure destinations. Therefore, the Mexican Tourism Board - SECTUR, through the General Directorate of Innovation for Tourism, is promoting Romance Tourism, focusing not only on destination weddings, but also seeking the integration of other tourism products and experiences in and around that special moment, allowing the incorporation of the local population, which contributes to raising their quality of life. This catalog is the result of a coordinated effort between the Destination Wedding Specialist Association - DWSA, the Michoacan State Secretary of Tourism and the Mexican Tourism Board. Together we carried out virtual workshops to create innovative tourism services aimed to the Romance Tourism, with an individual value that gives them a distinctive character and, at the same time, a unique identity. -
The Zaragozan Organ Builder Joseph Francisco Nassarre Cimorra (1701-1737): Contributions Towards a Biography
NASSARRE, 30 2014, pp. 91-109 ISSN: 0213-7305 The Zaragozan organ builder Joseph Francisco Nassarre Cimorra (1701-1737): contributions towards a biography EDWARD CHARLES PEPE Resumen: No hay duda de que Joseph de Nassarre era uno de los constructores de órga- nos más importantes para trabajar en la Nueva España. Así, en primer lugar, el artículo se inicia con un breve resumen de los pormenores de sus dos órganos en la catedral de México, construidos entre 1734 y 1736. A continuación, se ha tenido en consideración la biografía de Nassarre, empezando por el análisis de lo escaso publicado hasta la fecha, complementándo- lo con la publicación de los documentos en los que se basó dicha información, y, finalmente, agregando nuevas noticias de gran importancia halladas en archivos españoles. Como re- sultado de esta nueva investigación podemos decir que la familia de Joseph Nassarre vivía en Zaragoza (España), entre 1694 y 1712, y que el organero nació en el año de 1701. Para concluir, basándonos en un vínculo previamente desconocido entre las familias Nassarre y Sesma, sugerimos la capacitación de Joseph Nassarre en el taller de Francisco de Sesma, lo cual podría abrir nuevos caminos para el estudio de los órganos de Nassarre en la catedral de México. Palabras clave: Francisco de Sesma, Joseph Nassarre, México, órgano, Zaragoza. Abstract: There can be no doubt that Joseph Nassarre ranks as one of the most impor- tant organ builders ever to have worked in New Spain. Since some readers might be unfa- miliar with his life and work, this article will briefly review the circumstances surrounding his organs built from 1734 to 1736 in Mexico City Cathedral. -
The Maize Tamale in Classic Maya Diet, Epigraphy, and Art 153
CHAPTER 5 TheMaizeTamaleinClassicMaya Diet,Epigraphy,andArt In the past decade of Classic Maya research, the study of iconography and epigraphy has not played a major role in the formulation of archaeological research designs. Site excavation and settlement reconnaissance strategies tend to focus on gathering information relevant to topics such as relative and absolute chronology, settlement patterns, technology, subsistence, and exchange. Most recent epigraphic and iconographic work has focused upon less-material aspects of culture, including calendrics, the compilation of king lists, war events, and the delineation of particular ceremonies and gods. The differences are an expected consequence of increased specialization, but they should by no means be considered as constituting a hard and fast dichotomy. Some of the most exciting and important work results from exchange between the two general disciplines; the calendar correlation problem is an obvious example. To cite this chapter: Yet another is Dennis Puleston’s (1977) work on the iconography of raised field agriculture. [1989]2018 In Studies in Ancient Mesoamerican Art and Architecture: Selected Works According to Puleston, the abundant representation of water lilies, fish, aquatic birds, and by Karl Andreas Taube, pp. 150–167. Precolumbia Mesoweb Press, San Francisco. caimans in Classic Maya art graphically depicts a distinct environmental niche—the artifi- Electronic version available: www.mesoweb.com/publications/Works cially created raised fields. A considerable body of data now exists on Maya raised fields, but little subsequent work has been published on the iconography of raised fields or even Classic Maya agriculture. In part, this may relate to Puleston’s failure to define the entire agricultural complex. -
Ficm Cat16 Todo-01
Contenido Gala Mexicana.......................................................................................................125 estrenos mexicanos.............................................................................126 Homenaje a Consuelo Frank................................................................... 128 Homenaje a Julio Bracho............................................................................136 ............................................................................................................ introducción 4 México Imaginario............................................................................................ 154 ................................................................................................................. Presentación 5 Cine Sin Fronteras.............................................................................................. 165 ..................................................................................... ¡Bienvenidos a Morelia! 6 Programa de Diversidad Sexual...........................................................172 ..................................................... Mensaje de la Secretaría de Cultura 7 Canal 22 Presenta............................................................................................... 178 Mensaje del Instituto Mexicano de Cinematografía ������������9 14° Festival Internacional de Cine de Morelia.............................11 programas especiales........................................................................ 179 -
Mariana Castillo Deball Mexico City, Mexico, 1975 Lives and Works in Mexico City and Berlin
kurimanzutto mariana castillo deball Mexico City, Mexico, 1975 lives and works in Mexico City and Berlin education & residencies 2018 Tinker Visiting Professor in the Department of Visual Arts at The University of Chicago. 2012 Artist Residency at Cove Park, Henry Moore Foundation, Scotland, United Kingdom. 2011 Artist Residency at DAAD, Berlin. 2009-2010 Artist Residency at Capacete, Rio de Janeiro & Sao Paulo. 2008 Artist Residency at the 22e Ateliers Internationaux of Frac des Pays de la Loire, France. 2002-2003 Postgraduate program at Jan Van Eyck Akademie, Maastricht, Netherlands. 1993-1997 BFA in Visual Arts at Escuela Nacional de Artes Plásticas (ENAP), Universidad Nacional Autónoma de México (UNAM), Mexico City. grants & awards 2015 Premio Arco Comunidad de Madrid para Jóvenes Artistas, Spain. 2013 First Prize awarded by Preis der Nationalgalerie für Junge Kunst, Germany. 2012 Zürich Art Prize awarded by Museum Haus Konstruktiv, Switzerland. 2009 Ars Viva Award awarded by Kulturkreis Prize for Fine Arts, Germany. 2006 Cisneros Fontanals Art Foundation Grant, United States. 2004 First Prize awarded by Prix de Rome, Netherlands. 2002 Beca para Estudios en el Extranjero awarded by the Consejo Nacional para kurimanzutto la Cultura y las Artes (CONACULTA), Mexico. 2001 Beca Jóvenes Creadores awarded by Fondo Nacional para la Cultura y las Artes (FONCA), Mexico. Bourse Unesco-Aschberg, Portugal. solo exhibitions 2021 Amarantus. Museum für Gegenwartskunst Siegen, Germany. 2020 Mariana Castillo Deball. England’s Creative Coast, Towner Eastbourne, United Kingdom. Replaying Life's Tape. ACE Open, Adelaide, Australia. Mariana Castillo Deball: Between making and knowing something. Modern Art Oxford, United Kingdom. 2019 Finding Oneself Outside. -
DAVID ALFARO SIQUEIROS Portrait of Mexico Today, 1932 Retrato Del México De Hoy, 1932
DAVID ALFARO SIQUEIROS Portrait of Mexico Today, 1932 Retrato del México de hoy, 1932 A RESOURCE FOR STUDENTS AND TEACHERS Acknowledgements LEARNING OBJECTIVES The objective of this resource is to help students form a connection with the Portrait of Mexico Today mural by developing an understanding of key ideas, people, and places that relate to David Alfaro Siqueiros’ art and life. The resource focuses on relating artistic ideas and works with societal, cultural, and historical context to deepen understanding. It aids elementary, junior high, and high school students in applying the following California State Content Standards: • Chronological and Spatial Thinking • Historical Interpretation • Historical and Cultural Context • Aesthetic Valuing • Research, Evidence, and Point of View • Perceiving and Analyzing Artistic Work • Interpreting Intent and Meaning in Artistic Work ACKNOWLEDGEMENTS AND SPECIAL THANKS This educational resource was developed by the Education Department of the Santa Barbara Museum of Art, 2021, in consultation with regional educators. This resource is for educational purposes only. It is distributed freely to schools in the Santa Barbara region and accessible on the Santa Barbara Museum of Art’s website. IMAGE CREDITS All artwork by David Alfaro Siqueiros is © David Alfaro Siqueiros / Artists Rights Society (ARS), New York/ SOMAAP, Mexico City. For a full list of image credits, please consult pages 41-42 at the end of this packet. PORTRAIT OF MEXICO TODAY: A RESOURCE FOR STUDENTS AND TEACHERS 1 TABLE OF CONTENTS Acknowledgements 1 Table of Contents 2 Introduction 3 Historical Background 7 About the Artist 8 About the Mural 11 Classroom Activities: Portrait of Mexico Today 20 Classroom Activities: Related Works at SBMA 28 Additional Teaching and Resource Materials 35 Websites for Further Study 36 Image Credits 41 PORTRAIT OF MEXICO TODAY: A RESOURCE FOR STUDENTS AND TEACHERS 2 introduction In 1932, David Alfaro Siqueiros painted Portrait of Mexico Today in a private home in Los Angeles, California. -
The Temple of Quetzalcoatl and the Cult of Sacred War at Teotihuacan
CHAPTER 7 TheTempleofQuetzalcoatlandthe Cultof Sacred Warat Teotihuacan The Temple of Quetzalcoatl at Teotihuacan has been the source of startling archaeological discoveries since the early portion of this century. Beginning in 1918, excavations by Manuel Gamio revealed an elaborate and beautifully preserved facade underlying later construc- tion. Although excavations were performed intermittently during the subsequent decades, some of the most important discoveries have occurred during the last several years. Recent investigations have revealed mass dedicatory burials in the foundations of the Temple of Quetzalcoatl (Sugiyama 1989a; Cabrera Castro et al. 1988); at the time of this writing, more than eighty individuals have been discovered interred in the foundations of the pyramid. Sugiyama (1989a) persuasively argues that many of the individuals appear to be either war- riors or dressed in the office of war. The archaeological investigations by Cabrera, Sugiyama, and Cowgill are ongoing, and to comment extensively on the implications of their work would be both premature and presumptuous. Nonetheless, the recent excavations have placed an entirely new light on the significance of the Temple of Quetzalcoatl and its remarkable sculptural format. In this study, I will be concerned with the iconographic meaning of the Temple of Quetzalcoatl facade. In recent work, I noted that the temple facade represents serpents passing through a facade of circular mirrors (Taube 1986, 1988e). Two forms of serpents are present, Quetzalcoatl and an ancestral form of the Xiuhcoatl. In this respect, the Temple of Quetzalcoatl facade may be compared to the Postclassic wind temple of Ehecatl-Quetzalcoatl, which also appears To cite this chapter: with mirrors and serpents (Taube 1986). -
Cuaderno De Viaje Ruta Don Vasco
Ruta Don Vasco BIENVENIDO a la Ruta Don Vasco ace 500 años, Don Vasco de Quiroga llegó a Michoacán para Hconstruir la Utopía. En los pueblos purépecha que fundó mantienen con orgullo sus tradiciones, mientras la gastronomía y las artesanías de la región reciben reconocimiento mundial. Hablar de “Tata Vasco”, como los purépecha nombraron a Don Vasco de Quiroga, es hablar de un legado humanista que celebró la vida uniendo pueblos y fortaleciendo la riqueza cultural de su gente. La trascendencia del artesanado y sus técnicas, la comida que se gestó a orillas de los lagos de Pátzcuaro y de Cuitzeo, así como en la meseta purépecha, se manifiesta día a día. Acompáñanos en este recorrido que festeja la vida en comunidad, donde, alejado de modas, esta herencia se saborea entre corundas y atápakuas, se palpa en los entramados de chuspata y se disfruta escuchando las pirekuas. Te invitamos a las entrañas de Michoacán, a la Ruta Don Vasco, siguiendo los pasos de este humanista visionario en dos fascinantes circuitos por el lago de Pátzcuaro y alrededores y la meseta purépecha: El Alma de Don Vasco y Esencia Purépecha. Don Vasco fue la inspiración de Michoacán, el primero en enfrentar la injusticia, creando comunidades pacíficas e inclusivas inspiradas en la Utopía de Tomás Moro. Obispo, humanista, juez, maestro, urbanista y padre espiritual, el legado del Tata Vasco perdura hoy en nuestro estado y queremos compartirlo contigo. Ruta Don Vasco Índice de contenidos PÁG. PÁG. 4 14 HISTORIA DE UNA 32 EXPERIENCIAS UTOPÍA HECHA ÚNICAS REALIDAD PÁG. PÁG. 54 56 CENTRO DE AGENDA ANUAL INTERPRETACIÓN RDV Ruta Don Vasco PÁG.16 PÁG.40 CIRCUITO 1 CIRCUITO 2 EL ALMA DE ESENCIA DON VASCO PURÉPECHA 21 experiencias 11 experiencias PÁG. -
Teotihuacan City of the Gods
exhibition dossier teotihuacan city of the gods Teotihuacan grew to become the dominant force in the Valley of Mexico between 300 and 100 BCE, and its influence soon spread to a far wider area that included also mountainous regions. At the peak of its splendor, it was one of the largest human settlements anywhere in the world. Teotihuacan is simply vast: its squares, its pyramids and its streets simply overwhelm the visitor with their enormous size. Brian Fagan Malinaltepec Mask, with mosaic covering and necklace with pendant. Stone with applications in turquoise, amazonite, obsidian and shell. 100-650 AD, Museo Nacional de Antropología, Mexico City • how to use this file • Teotihuacan • work modules the metropolis the pyramid wall paintings masks shells • suggestions for further reading from the Art Bookshelf • internet sites how to use the file This file is designed for anyone interested in finding things out and in experimenting with things. It offers suggestions for discussion topics and activities. The work modules explore key themes with images, information, quotes and tips for encouraging creative activity. It is a useful tool for further developing the issues addressed at suggestions for use the exhibition, either at school or and at home, in an attempt to foster a resource for teachers, parents and professionals With over 400 exhibits from digs conducted between 1998 and 2004 and on display here ongoing dialogue with schools in Italy for the very first time, the Teotihuacan: City of the Gods exhibition offers the public and families well beyond the mere an overview of this ancient Mexican civilization which disappeared so myteriously. -
Dissertation Title Page
The Politics of Bracero Migration By Alberto Maldonado Garcia A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Margaret Chowning, Chair Professor Brian DeLay Professor Mark A. Healey Professor Laura J. Enriquez Summer 2016 Copyright © 2016 by Alberto Maldonado Garcia All Rights Reserved 1 Abstract The Politics of Bracero Migration by Alberto Maldonado Garcia Doctor of Philosophy in History University of California, Berkeley Professor Margaret Chowning, Chair From 1942 to 1964, a bilateral agreement known as the Bracero Program allowed Mexican men to work in the United States as seasonal contract laborers. During the program’s 22-year duration, Mexican officials distributed 4.64 million contracts. This dissertation examines two interrelated questions. First, how did the Mexican government distribute contracts? And second, what motivated rural workers from the center-western states of Guanajuato, Jalisco, and Michoacán – the states that sent the most braceros, between one-third and one-half of the total, to the U.S. – to want to migrate as braceros. Political factors linked to the implementation of and conservative Catholic opposition to the government-sponsored agrarian reform heavily influenced demand for bracero contracts. During the 1920s and 1930s, the federal government expropriated millions of hectares of land in the center-west and redistributed them among hundreds of thousands of rural workers. But numerous agrarian reform beneficiaries were granted insufficient or poor-quality lands, and the statutes that governed agrarian reform communities limited what beneficiaries could do with their lands.