Gallery Guide in English
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La Huella Majistral for Divi
Majestic Impression La Huella Magistral September 22 through October 28, 2017 Curated by Nitza Tufiño Jaime Montiel Rini -Templeton This exhibition features the works of artists printmakers who are members of the ''Consejo Grafico '' (The Graphic Council), a national Latinx organization of ''Talleres'' printmaking workshops. The portfolio of prints is by selected artists, who have created original works honoring a master printmaker who has influenced him or her. The featured artists are Rene Arceo; Pepe Coronado; Francisco X Siqueiros; Marianne Sadowski; Kay Brown; Poli Marichal; Juan R Fuentes; Richard Xavier Serment; Ramiro Rodriguez; Joe Segura; Paul del Bosque; Sandra C Fernandez; Maceo Montoya; Lezlie Salkowitz Montoya; Malaquias Montoya; Loanda Lozano; Nitza Tufiño; Betty Cole; Eliezer Berrios; and Marcos Dimas. In addition, during this event, there will be an adjoining exhibit featuring the work from members of the Dominican York Proyecto GRAFICA (DYPG) and Taller Boricua’s Rafael Tufiño Printmaking Workshop. Since 2000, a group of independent printmaking workshops began to form a coalition, the CONSEJO GRÁFICO, to "advance Latino printmakers' capacity and legacy in the United States." This beautiful series of prints constitutes their third Portfolio Exchange. The Portfolio, an edition of 30, gathers 19 participating artists, each contributing to print MAJESTIC IMPRESIONS 2017 1 The Portfolio's title, LA HUELLA MAGISTRAL: HOMAGE TO MASTER PRINTMAKERS, reveals the charitable purpose of the participating artists: to honor their teachers — master printmakers who taught, mentored, or inspired them. These artists share moral values and social ideals with those who inspired them: the defense of poor and oppressed peoples, solidarity with workers, a commitment to public education. -
PHOTO Libraryinc. 305 EAST F O R T Y-S E V E N T H STREET • NEW YORK 17 • PL 2-4477 October 5> 1966 Miss Laura Gilpin P‘O
PHOTO LIBRARYinc. 305 EAST F O R T Y-S E V E N T H STREET • NEW YORK 17 • PL 2-4477 October 5> 1966 Miss Laura Gilpin P‘O. Box 1173 Santa Fe, New Mexico Dear Miss Gilpin: One of our clients is anxious to obtain as quickly as possible illustrative material, both in color and black and white, for a forthcoming book on Mexican art and architecture. I’m enclosing a list that you can use. as a guide; as you can see, our client Is most specific. Do you think you can mail us some of your photographs? We are looking forward to hearing from you. Very truly yours 1) Head of a coyote. Tequixquiac, Mexico State. About 10,000 B.C. 2) Small Seated Statue. Cairo de las Mesaas , Veracruz State. 300-800 A.D. Institute Hacional de Antropoligia e Historia, Mexico City. 3) Olmec Dwarf, and Mara Glyph. Cairo de las Mesaas, Veracruz State. 300-800 A D Institute Hacional de Antropologia e HLstorla, Mexico 6ity. 4) Head of a young Maya. Palenque, Chiapas State. Jgbout 683 A D Institute Hacional de Antropologia.....Mexico City 5) Facade of the Codz-Pop Building. Cabah, Tucutan State. 800-1200 A D 6) Temple of the Warriors. Chichen Itza, Yucatan State 800-1200 A D 7) Entrance to the Temple of the Warriors (see above for location) 8) Great Bail Court. Chichen Itza.... 9) Temple of Venus, with the Castillo in the background, Chichen Itza.... 10) Bearded ’Dancer*. Monte Alban, Oaxaca State. 200-100 B.C. 11) Zapotec Urn. -
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. -
Checklist of Anniversary Acquisitions
Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1. -
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. -
SCHEMA 2019 to 2020.Pdf
schema / 2019–2020 the year in review THE YEAR IN REVIEW 2019–2020 schema 2019–2020 THE YEAR IN REVIEW 4 SCMA100 \ the making of a museum From the Director Diversity, Equity, Accessibility and Inclusion at SCMA Faculty Perspective: Matt Donovan 18 connecting people to art ON VIEW July 2019–June 2020 The smith college Younès Rahmoun: Scholarly Convening and Performance Defiant Vision: Prints & Poetry by Munio Makuuchi museum of art A Dust Bowl of Dog Soup: Picturing the Great Depression Buddhas | Buddhisms: Across and Beyond Asia cultivates inquiry Black Refractions: Highlights from The Studio Museum in Harlem Museum Studies Course and reflection Program Highlights by connecting people to art, The Ancient World Gallery: A Reinstallation 36 connecting people to ideas ideas and each other A Place for Connection Academic Engagement: Teaching and Learning with the Collection Museums Concentration Museums Today Student Engagement: Remote Internship Program Student Perspective: Molly McGehee ‘21 Tryon Prizes for Writing and Art 2020 Student Perspective: Hannah Gates ‘22 Dancing the Museum Amanda Williams: 17th Annual Miller Lecturer in Art and Art History 50 connecting people to each other Member Engagement Membership Program Highlights Student Perspective: Emma Guyette ‘20 SCMA100 Gala Supporters Advisory Groups Gifts to the Museum Honoring Joan Lebold Cohen ‘54 66 art acquisition highlights 72 gifts and purchases of art 84 parting words and more Parting Words SCMA by the Numbers Museum Staff/Student Assistants the making of a museum from the director THE MAKING OF A MUSEUM is as layered as the works inside its walls. It raises questions about who we are and who we want to be; what we do and why we do it; who our audiences are and how best to serve them. -
The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 Denali Elizabeth Kemper 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/661 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] The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 By Denali Elizabeth Kemper Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis sponsor: January 5, 2021____ Emily Braun_________________________ Date Signature January 5, 2021____ Joachim Pissarro______________________ Date Signature Table of Contents Acronyms i List of Illustrations ii Introduction 1 Chapter 1: Points of Reckoning 14 Chapter 2: The Generational Shift 41 Chapter 3: The Return of the Repressed 63 Chapter 4: The Power of Nazi Images 74 Bibliography 93 Illustrations 101 i Acronyms CCP = Central Collecting Points FRG = Federal Republic of Germany, West Germany GDK = Grosse Deutsche Kunstaustellung (Great German Art Exhibitions) GDR = German Democratic Republic, East Germany HDK = Haus der Deutschen Kunst (House of German Art) MFAA = Monuments, Fine Arts, and Archives Program NSDAP = Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Worker’s or Nazi Party) SS = Schutzstaffel, a former paramilitary organization in Nazi Germany ii List of Illustrations Figure 1: Anonymous photographer. -
Frida Kahlo I Diego Rivera. Polski Kontekst
Polski kontekst I Polish context SPIS TREŚCI TABLE OF CONTENTS 9—11 7 Jacek Jaśkowiak 135—148 Helga Prignitz-Poda Prezydent Miasta Poznania I President of the City of Poznań Diego Rivera – prace I Diego Rivera – works Gdyby Frida była wśród nas… I If Frida were among us… 187—187 Helga Prignitz-Poda 19—19 Alejandro Negrín Nickolas Muray Ambasador Meksyku w Polsce I Ambassador of Mexico to Poland Frida Kahlo i Diego Rivera w Polsce: uniwersalizm kultury meksykańskiej 195—195 Ariel Zúñiga Frida Kahlo and Diego Rivera in Poland: the Universal Nature of Mexican Art O Bernice Kolko… I On Bernice Kolko… x1— 13 Anna Hryniewiecka 211—211 Dina Comisarenco Mirkin Dyrektor Centrum Kultury ZAMEK w Poznaniu I Director of ZAMEK Culture Centre in Poznań Grafiki Fanny Rabel (artystki w wieku pomiędzy sześćsetnym Frida. Czas kobiet I Frida. Time of Women i dwutysięcznym rokiem życia) I Graphic works by Fanny Rabel (artist between 600 and 2000 years of age) 17—17 Helga Prignitz-Poda Frida Kahlo i Diego Rivera. Polski kontekst. Sztuka meksykańska w wymianie kulturowej 135—224 Diego Rivera Frida Kahlo and Diego Rivera. Polish context. Mexican Art in Cultural Exchange O Fanny Rabel I About Fanny Rabel 17— 52 Elena Poniatowska 135—225 Frida Kahlo o Fanny Rabel, sierpień 1945 Frida Kahlo Frida Kahlo about Fanny Rabel, August 1945 0 53—53 Diego Rivera 227—227 Helga Prignitz-Poda Frida Kahlo i sztuka Meksyku I Frida Kahlo and Mexican Art Kolekcja prac z Wystawy sztuki meksykańskiej z 1955 roku w zbiorach Muzeum Narodowego w Warszawie I Works from the 1955 Exhibition -
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. -
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. -
Cultural Enterprises by William G
Cultural Enterprises By William G. Robbins In addition to its rich literary heritage, Oregon has a long history of other cultural enterprises. German, Scandinavian, and numerous other ethnic organizations proliferated in the late 1800s. Immigrant groups formed social and ethnic clubs to provide meeting places for Old World celebrations, dances, and other social activities. Some festivals have become popular community celebrations. Since 1961, for example, Junction City’s annual four-day Scandinavian Festival has been devoted to celebrating the foodways, fashions, folk music, and dancing associated with Norway, Finland, Sweden, Denmark, and Iceland. Each August, Junction City’s downtown is transformed with booths, entertainment, glass-blowing demonstrations, and other cultural events. The small town of Mt. Angel in the Willamette Valley has celebrated an annual harvest festival since 1966. With German sausage, music, craft booths, and dancing in a huge bier garden, the Oktoberfest draws more than 300,000 people to the mid-September event. Astoria hosts a Finnish gala each year, and Portland puts on a Nordic festival. Since the 1940s, the Albany World Championship Timber Carnival has attracted competitors from all over the world to participate in logging skills contests. For four days over the Fourth of July weekend, men and women have competed in climbing, chopping, bucking, and burling contests. Because of smaller crowds and the state’s declining timber economy, the city of Albany discontinued the once-popular carnival in 2002. Oregon’s cultural establishments include long-standing institutions such as the Oregon Historical Society (established in 1898), the Portland Art Museum (1892), the Columbia River Maritime Museum (1962), the High Desert Museum in Bend (1982), and the Columbia Gorge Discovery Center in The Dalles (1997). -
La Célula Gráfica. Artistas Revolucionarios En México, 1919-1968, Muestra Que Aborda El Compromiso De Los Artistas Mexicanos Del Siglo XX
Dirección de Difusión y Relaciones Públicas Ciudad de México, a 22 de noviembre de 2019 Boletín núm. 1800 La célula gráfica. Artistas revolucionarios en México, 1919-1968, muestra que aborda el compromiso de los artistas mexicanos del siglo XX • Las 180 piezas permanecerán en exposición del 22 de noviembre de 2019 al 23 de febrero de 2020 en el Museo Nacional de la Estampa El Museo Nacional de la Estampa (Munae) del Instituto Nacional de Bellas Artes y Literatura (INBAL) exhibirá a partir del 22 de noviembre la muestra La célula gráfica. Artistas revolucionarios en México, 1919-1968, cuyo objetivo es valorar la función del arte como compromiso social. Esta exposición, bajo la curaduría de Ana Carolina Abad, se centra en el trabajo de artistas que, a partir del fin de la Revolución Mexicana y hasta la década de 1960, asumieron la tarea de crear imágenes con mensajes generalmente de índole social. La célula gráfica es una gran oportunidad para conocer parte del acervo del Munae que pocas veces se ha exhibido, principalmente de grabadores reconocidos, como Diego Rivera, David Alfaro Siqueiros, Luis Arenal, Xavier Guerrero, Leopoldo Méndez, Pablo O’Higgins, Raúl Anguiano, Ángel Bracho, Francisco Dosamantes, Alfredo Zalce, Arturo García Bustos, Francisco Mora y Francisco Moreno Capdevila. Igualmente contempla la obra de Andrea Gómez, Sarah Jiménez y Mariana Yampolsky. Paseo de la Reforma y Campo Marte s/n, Módulo A, 1.er Piso Col. Chapultepec Polanco, Miguel Hidalgo C.P. 11560, Ciudad de México, tel. (55) 1000 5600 Ext. 4086 [email protected] Para Emilio Payán, director del Munae, La célula gráfica.