Datebook: a Persian Epic, a Lost City from 'Superman,' the Return of Pop-Up Magazine
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Epic of American Civilization Murals
NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 THE EPIC OF AMERICAN CIVILIZATION MURALS, BAKER LIBRARY Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: The Epic of American Civilization Murals, Baker Library, Dartmouth College Other Name/Site Number: Baker-Berry Library 2. LOCATION Street & Number: 6025 Baker-Berry Library Not for publication: City/Town: Hanover Vicinity: State: NH County: Grafton Code: 009 Zip Code: 03755 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): _X_ Public-Local: District: ___ Public-State: ___ Site: ___ Public-Federal: ___ Structure: ___ Object: ___ Number of Resources within Property Contributing Noncontributing 1 buildings sites structures objects 1 Total Number of Contributing Resources Previously Listed in the National Register: Name of Related Multiple Property Listing: NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 THE EPIC OF AMERICAN CIVILIZATION MURALS, BAKER LIBRARY Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ____ nomination ____ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ____ meets ____ does not meet the National Register Criteria. -
Daniel Garza Usabiaga 2011 Arara – No.10, 2011 1
© Daniel Garza Usabiaga 2011 André Breton, Surrealism and Mexico, 1938-1970. A Critical Overview. Daniel Garza Usabiaga Discussions about the relation between Surrealism and Mexico are numerous. Most of them, nevertheless, have been centered on a limited time span that starts with André Breton’s visit to the country in 1938 and continues with the experience of several surrealists in exile during the Second World War. 1 There are also instances which examine specific cases such as Antonin Artaud’s travel in 1936, the production of Wolfgang Paalen during his years in Mexico or Georges Bataille’s conceptualizations on Pre-Columbian cultures. 2 Fewer attempts exist that try to evaluate the impact of Breton’s visit and of the International Exhibition of Surrealism of 1940 in the local cultural context. 3 What all these varied perspectives attest to is, in the end, the complex and many faceted set of relations that exist between Surrealism and Mexico. This paper will revise the relation between André Breton, Surrealism and Mexico within a broader time span than is usually employed when discussing this theme (1930-1970). The reason for this is twofold. First, a reading of Breton’s 1938 visit 1 Most publications on the history of Surrealism when discussing Mexico and Surrealism are limited to this temporal frame. A publication that makes a more detailed analysis of this theme is Martica Sawin, Surrealism in Exile and the Beginning of the New York School. Cambridge: MIT Press, 1995, pp. 250-287 2 The most comprehensive publication which deals with Surrealism in Mexico from the reception of the first Manifesto to 1950, including Artaud’s and Breton’s visit as well as the activities of Breton and Paalen in the country, is Luis Mario Schneider’s book México y el surrealismo (1925- 1950) . -
INFORME ANUAL CORRESPONDIENTE AL ÚLTIMO SEMESTRE DEL 2013 Y PRIMER SEMESTRE DE 2014
INFORME ANUAL CORRESPONDIENTE AL ÚLTIMO SEMESTRE DEL 2013 y PRIMER SEMESTRE DE 2014. Informe presentado por el Consejo Directivo Nacional de la Sociedad Mexicana de Autores de las Artes Plásticas, Sociedad De Gestión Colectiva De Interés Público, correspondiente al segundo semestre del 2013 y lo correspondiente al año 2014 ante la Asamblea General de Socios. Nuestra Sociedad de Gestión ha tenido varios resultados importantes y destacables con ello hemos demostrado que a pesar de las problemáticas presentadas en nuestro país se puede tener una Sociedad de Gestión como la nuestra. Sociedades homologas como Arte Gestión de Ecuador quienes han recurrido al cierre de la misma por situaciones económicas habla de la crisis vivida en nuestros días en Latinoamérica. Casos como Guatemala, Colombia, Honduras en especial Centro América, son a lo referido, donde les son imposibles abrir una representación como Somaap para representar a sus autores plásticos, ante esto damos las gracias a todos quienes han hecho posible la creación y existencia de nuestra Sociedad Autoral y a quienes la han presidido en el pasado enriqueciéndola y dándoles el impulso para que siga existiendo. Es destacable mencionar los logros obtenidos en las diferentes administraciones donde cada una han tenido sus dificultades y sus aciertos, algunas más o menos que otras pero a todas les debemos la razón de que estemos en estos momentos y sobre una estructura solida para afrontar los embates, dando como resultado la seguridad de la permanencia por algunos años más de nuestra querida Somaap. Por ello, es importante seguir trabajando en conjunto para lograr la consolidación de la misma y poder pensar en la Somaap por muchas décadas en nuestro país, como lo ha sido en otras Sociedades de Gestión. -
Order Form Full
JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE -
Jose Clemente Orozco Scrapbook
http://oac.cdlib.org/findaid/ark:/13030/kt5k4033qz No online items Guide to the Jose Clemente Orozco Scrapbook Finding created by Russell Michalak Special Collections, Honnold/Mudd Library, Claremont University Consortium2008 Libraries of The Claremont Colleges 800 N. Dartmouth Avenue Claremont, CA 91711 Phone: (909) 607-3977 Fax: (909) 621-8681 Email: [email protected] URL: http://libraries.claremont.edu/sc/default.html © 2008 Claremont University Consortium. All rights reserved. Guide to the Jose Clemente H448 1 Orozco Scrapbook Descriptive Summary Title: \Jose Clemente Orozco Scrapbook creator: Orozco, Jose Clemente Dates: 1932 - 1953 Abstract: Extent: 1 foot (1 box) Repository: Claremont Colleges. Honnold/Mudd Library. 800 N. Dartmouth Avenue Special Collections, Honnold/Mudd Library Claremont University Consortium Claremont, California 91711 Collection Number: H448 Languages: Languages represented in the collection: English Physical Location: Special Collections, Honnold/Mudd Library. Claremont University Consortium. Restrictions on Access This collection is open for research. Publication Rights For permissions to reproduce or to publish, please contact Special Collections Library staff. Preferred Citation [Identification of item], Register of Jose Clemente Orozco Scrapbook. Special Collections, Honnold Mudd Library, Claremont University Consortium. Acquisition Information Unknown. Processing Information Arranged and Processed by Special Collections Staff Accruals No additions to the collection is anticipated. Scope and Contents of the Collection This collection consists of articles and newsclippings about Jose Clemente Orozco's art on college campuses. Series Arrangement Series 1 Prometheus Fresco Series 2 Other art by Jose Clemente Orozco Subject Headings The following terms have been used to index the description of this collection Orozco, Jose´ Clemente, 1883-1949. -
OROZCO at DARTMOUTH the Epic of American Civilization
OROZCO AT DARTMOUTH The Epic of American Civilization HOOD MUSEUM OF ART, DARTMOUTH | DARTMOUTH COLLEGE LIBRARIES This brochure was made possible by the Manton Foundation, whose generosity provides perpetual support for the preservation of the Orozco murals. The original printing was sponsored by Monroe Denton, Class of 1968. © 2017 Trustees of Dartmouth College. All rights reserved. Edited by Nils Nadeau Designed by Joanna Bodenweber Printed by Puritan Capital All mural photography by Jeffrey Nintzel Mural images from José Clemente Orozco’s The Epic of American Civilization, 1932–34, fresco, Orozco Room, Baker Library, Dartmouth College. Commissioned by the Trustees of Dartmouth College. Photographs of the mural in progress courtesy of Dartmouth College Libraries. Continuous scan of mural used on front cover and center spreads by Hany Farid. Diagram on center spread by Barbara Krieger. For images of Orozco’s preparatory drawings for the mural, please see the web resource Dartmouth Digital Orozco at http://www.dartmouth.edu/digitalorozco/, which was produced in collaboration with the Neukom Institute for Computational Science and funded by the Class of 1960, the Andrew W. Mellon Foundation, and the Neukom Institute. Back cover: The muralist’s tools; Orozco on scaffold with Man Released from the Mechanistic to the Creative Life, May 1932 3 Preface next year by José Clemente Orozco. Decades inspires artists, scholars, and curators to con- later, the artist-in-residence program, now tinue sharing his vision with the world. The very The Epic of American Civilization by José administered by the Studio Art Department, presence of Orozco’s Epic of American Civilization Clemente Orozco is one of Dartmouth’s great- has brought nearly 150 artists to teach and informs the day-to-day life of those who live on est treasures. -
Translating Revolution: U.S
A Spiritual Manifestation of Mexican Muralism Works by Jean Charlot and Alfredo Ramos Martínez BY AMY GALPIN M.A., San Diego State University, 2001 B.A., Texas Christian University, 1999 THESIS Submitted as partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Chicago, 2012 Chicago, Illinois Defense Committee: Hannah Higgins, Chair and Advisor David M. Sokol Javier Villa-Flores, Latin American and Latino Studies Cristián Roa-de-la-Carrera, Latin American and Latino Studies Bram Dijkstra, University of California San Diego I dedicate this project to my parents, Rosemary and Cas Galpin. ii ACKNOWLEDGEMENTS My committee deserves many thanks. I would like to recognize Dr. Hannah Higgins, who took my project on late in the process, and with myriad commitments of her own. I will always be grateful that she was willing to work with me. Dr. David Sokol spent countless hours reading my writing. With great humor and insight, he pushed me to think about new perspectives on this topic. I treasure David’s tremendous generosity and his wonderful ability to be a strong mentor. I have known Dr. Javier Villa-Flores and Dr. Cristián Roa-de-la-Carrera for many years, and I cherish the knowledge they have shared with me about the history of Mexico and theory. The independent studies I took with them were some of the best experiences I had at the University of Illinois-Chicago. I admire their strong scholarship and the endurance they had to remain on my committee. -
BMW Group México Participa En La Iniciativa Arte Que Revive: Arte Y Literatura Unidos Con Un Propósito
MEXICO CORPORATE COMMUNICATIONS BMW Group México participa en la iniciativa Arte Que Revive: Arte y Literatura Unidos con un Propósito Las obras creadas por 20 reconocidos artistas serán subastadas para apoyar a la Fundación Michou y Mau en su lucha por lograr la oportuna y mejor atención para los niños quemados México, D.F., 13 de noviembre 2014.- Con el objetivo de continuar con la promoción de diversas expresiones de arte en nuestro país, BMW Group México participa en la iniciativa Arte que Revive, la cual reúne el talento de reconocidos nombres de la literatura y la plástica para crear piezas únicas e irrepetibles, a ser subastadas. El principal objetivo es apoyar a diversas Fundaciones y Organizaciones no gubernamentales a través de la implementación de proyectos que conjuguen diversas artes. Lo recaudado será entregado a la Fundación Michou y Mau, presidida por Virginia Sendel de Lemaitre. El evento se llevará a cabo el martes 25 de noviembre en el Gran Salón del Four Seasons Hotel México D.F. Los asistentes tendrán la oportunidad de adquirir obras originales realizadas por José Luis Cuevas, Elena Poniatowska, Carmen Boullosa, René Avilés, Pedro Friedeberg, Martha Chapa, Mónica Lavín, Alberto Ruy-Sánchez, Guillermo Ceniceros, Esther González, Laura Quintanilla, Alfredo Peñuelas Rivas, Jazzamoart y Claudia Marcucetti, entre otros, para éste noble fin. Cabe señalar que Arte que Revive es presentado por la marca BMW y Four Seasons Hotel México D.F. con el apoyo de Plaza y Valdés Editores y la firma norteamericana de diseño y escritura ACME. En esta ocasión, Arte que Revive convocó a 10 reconocidos escritores para hacer un cuento corto manuscrito. -
La Exposición Anita Brenner. Luz De La Modernidad, Explora Facetas De La Gran Promotora Del Arte Mexicano
Dirección de Difusión y Relaciones Públicas Ciudad de México, a de 29 de octubre de 2019 Boletín núm. 1681 La exposición Anita Brenner. Luz de la Modernidad, explora facetas de la gran promotora del arte mexicano Destaca la actividad de la gestora cultural de principios del siglo XX, a través de piezas que pertenecieron a su acervo y muestran su relación con creadores de la época Se exhibirá en el marco del Festival Internacional de Fotografía FotoMéxico 2019 y estará abierta al público del 30 de octubre al 23 de febrero de 2020 La exposición Anita Brenner. Luz de la Modernidad se exhibirá del 30 de octubre al 23 de febrero de 2020 en el Museo Nacional de Arte (Munal), integrada por más de 400 obras, entre fotografía, pintura, gráfica, documentos, materiales de trabajo y objetos artísticos procedentes, en su mayoría, de la colección de esta impulsora del arte mexicano de principios del siglo XX y que en conjunto conforman una visión del país arraigada en una rica herencia cultural inmersa en una renovación cosmopolita. La Secretaría de Cultura, a través del Instituto Nacional de Bellas Artes y Literatura (INBAL), en colaboración con Arte & Cultura Grupo Salinas, presentan esta muestra que contiene una selección de piezas del Acervo Anita Brenner, el cual forma parte de la Colección Ricardo B. Salinas Pliego. La colección dialoga con obras emblemáticas del Munal y muestra el tejido de relaciones que la antropóloga, escritora, periodista y gestora cultural mantuvo con artistas fundamentales del arte moderno mexicano, como Diego Rivera, Frida Kahlo, Tina Modotti, David Alfaro Siqueiros y José Clemente Orozco, entre otros creadores. -
Mexican MODERNISM
MORE THAN MURALS THE STORY OF MEXICAN Ángel Zárraga, La Femme et le Pantin (The Woman and the MODERNISM Puppet), 1909. IS BEING RETOLD AS COLLECTORS DISCOVER THE RICH VARIETY OF LESS WELL-KNOWN ARTISTS. BY EDWARD M. GOMEZ Museo Blaisten More than Murals espite the standard art-history-book summary of Mexican modernism, there actually is much more to this colorful subject than the works, emblem- atic though they might be, of Los Tres Grandes (The Three Great Ones)—Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco. DTheir epoch-dening murals painted in the decades fol- lowing the 1910–20 revolution that ousted the dicta- torship of Porrio Díaz gave enduring expression to a proud people’s still-emerging sense of national identity. In the 1920s they began painting the large-scale murals in schools and government buildings that would become indelibly associated with their names and with uniquely Mexican interpretations of such seminal European mod- ernist movements as Post-Impressionism and Cubism. With the fall of the Díaz regime, which had suppressed civil rights and allowed wealthy landowners and industrialists to exploit struggling laborers, a new administration put forth a reformist agenda. José Vasconcelos, the federal government’s public education secretary in the early 1920s, supported public art projects like those of the muralists to educate the masses about Mexico’s history and to foster a sense of mod- ern Mexican national identity based on democratic values. Rivera, a member of the Mexican Communist Party, and Siqueiros, a Marxist who helped establish an art- ists’ union in 1923, imbued their murals with a social- ist spirit. -
Mexican Mural Movement
he Mexican Mural ovement E .'v1EXICAN muralists produced the greatest public revolutionary of this century, and their influence throughout Latin America - t recently in the wall paintings in Nicaragua - has been far hing and continuous. There was a time, during the 1930s; when . as also felt in Britain, and in the USA, but since then they have -ely entered artistic discourse.1 ,\ major difficulty is that of adequately presenting the murals ~~mselves, for although portable murals were produced, they can- give a sense of the work in its setting. Murals were painted all ·er M exico in different kinds of sites: gracefu l colonial church .d palaces, the patios of ministerial buildings, schools, town halls d museums, in positions ranging from dark and awkward stair es to the prominent fo;:ades of modern buildings. The muralists were the most vigorous and creative of the cultural anguard of revolutionary Mexico, with a powerful sense of the cial value of their art. The violent revolt in 1910 against the regime f Porfirio Dfaz had blazed on and off for ten years, during which me the President's chair in Mexico was often vacant. A cataclys -1ic event, never full y harnessed to any single programme or set of Jlterests- though Zapata's struggle for agrarian reform in Morelos was and remained a fundamental issue - the Revolution brought a new consciousness to Mexico. 2 The inauguration of the former revolutionary leader Alvaro Obregon as President, in 1920, in tia ted a period of hope and optimism in which the mural move ment was born. -
ECORFAN Journal-Republic of El Salvador Longevas Analysis of The
22 Article ECORFAN Journal-Republic of El Salvador June 2018 Vol.4 No.6 22-30 Longevas analysis of the five companies in Mexico to 2017 Análisis de longevas de las cinco empresas en México hasta 2017 SERRANO-TORRES, Ma. Guadalupe*†, QUEZADA-FLORES, Ma. De la Luz, MARQUEZ-DE ANDA, Camilo and MARTÍNEZ-BECERRA, Abel ID 1st Author: Ma. Guadalupe, Serrano-Torres ID 1st Coauthor: Ma. De la Luz, Quezada-Flores ID 2do Coauthor: Camilo, Marquez-De Anda ID 3th Coauthor: Abel, Martínez-Becerra Received January 1, 2018; Accepted June 4, 2018 Abstract Resumen The following research Arises from the constant need to La siguiente investigación surge de la constante necesidad keep updated the database on long-lived family businesses de mantener actualizada la base de datos sobre las in Mexico by 2017. Which generate jobs for 100 million empresas familiares longevas de México al año 2017. Las people, constitute 60% of the total number of companies cuales generan empleos para 100 millones de personas, in the world, in Latin America They Constitute almost constituyen el 60% sobre el total de empresas del planeta, 90% of all companies. HENCE, 11 of the 20 Most en Latinoamérica constituyen casi el 90% de todas las Important companies currently are in Mexico, are in the compañías. De ahí que 11 de las 20 empresas más family category and Represent Between 70% and 90% of importantes de la actualidad en México, están en la the total of Existing companies in Mexico (Millan cited in categoría de familiares y representan entre un 70% y 90% Lopez, González and Vargas 2015)., P.57).