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Centre for the Study of Migration, Queen Mary, University of London
Centre for the Study of Migration, Queen Mary, University of London and United Nations University International Institute for the Alliance of Civilizations (UNU-IIAOC) CONFERENCE ANNOUNCEMENT JUNE 28th and 29th 2012 DISPLACEMENT, RESISTANCE, REPRESENTATION: Culture and Power in Contexts of Migrancy Landscapes of Desire John Halaka RESIST. 2009. Detail from drawing. Ink and Rubber Stamped Ink on Paper The Centre for the Study of Migration at Queen Mary, University of London is pleased to announce its annual conference to be held on June 28th and 29th 2012. Organizer: Professor Parvati Nair ([email protected]) Venue: David Sizer Lecture Theatre, Francis Bancroft Building, Queen Mary, Mile End Campus, Mile End Road, London E1 4NS Attendance at this conference is FREE and OPEN TO ALL Programme Thursday, June 28th 2012 10:00 – 10:30: Registration and Coffee 10:30 – 10:45: Welcome and Introduction 10:45 – 12:15: Panel 1: Fields of Resistance Chair: Federica Mazzara, University College London, UK Speakers: Elena Fiddian-Qasmiyeh (Centre for Refugee Studies, University of Oxford, UK): ‘Ideal and Unique Spaces: The Representation of Sahrawi Refugees in Algerian Camps’ Nayana Bibile (University of New South Wales, Sydney, Australia): ‘The Potentiality of the Archive: Dynamics of Resettlement amongst Bhutanese Refugees in Australia’ Pollyanna Rhee (Columbia University, New York, USA): ‘Public Image Limited: The Ramapo Mountain Indians’s Claims for Territory and Recognition’ 12:15 – 13:15: Keynote Lecture 1 Chair: Parvati Nair, Centre for the Study of Migration, QMUL, UK Speaker: Professor John Halaka (University of San Diego, California, USA): ‘Portraits of Desire and Denial’ 13:15 – 14:30: LUNCH (own arrangements) 14:30 – 16:00: Panel 2: The Power of the Visual Chair: Tendayi Bloom, QMUL, UK Speakers: Federica Mazzara (University College London, UK): ‘Bodies of Lampedusa. -
ART in the TWENTY-FIRST CENTURY Screening Guides to the Seventh Season
ART IN THE TWENTY-FIRST CENTURY Screening Guides to the Seventh Season © ART21 2014. All Rights Reserved. pbs.org/art21 | art21.org season seven GETTING STARTED ABOUT THIS SCREENING GUIDE product—behind some of today’s most thought- provoking art. These artists represent the breadth This screening guide is designed to help you plan of artistic practices across the country and the an event using Season Seven of ART21 Art in world and reveal the depth of intergenerational the Twenty-First Century. This guide includes an and multicultural talent. episode synopsis, artist biographies, discussion questions, group activities, and links to additional Educators’ Guide The 32-page color manual resources online. ABOUT ART21, INC. includes information on the ART21 is a nonprofit contemporary art organization artists, before-viewing and after-viewing questions, and ABOUT ART21 SCREENING EVENTS serving students, teachers, and the general public. curriculum connections. ART21’s mission is to increase knowledge of Public screenings of the Art in the Twenty-First FREE | art21.org/teach contemporary art, ignite discussion, and empower Century series illuminate the creative process viewers to articulate their own ideas and interpre- of today’s visual artists by stimulating critical tations about contemporary art. ART21 seeks to reflection as well as conversation in order to achieve this goal by using diverse media to present deepen audience’s appreciation and understanding an independent, behind-the scenes perspective on of contemporary art and ideas. Organizations and contemporary art and artists at work and in their individuals are welcome to host their own ART21 own words. Beyond the Art in the Twenty-First events year-round. -
Latoya Ruby Frazier Takes on Levi’S.” © Art21, Inc
Frazier Production still from the New York Close Up film, “LaToya Ruby Frazier Takes on Levi’s.” © Art21, Inc. 2011. art21.org/latoyarubyfrazier LaToya Ruby Frazier Born Media and Materials 1982 (Braddock, Pennsylvania) photography ABOUT performance Education Edinboro University of Pennsylvania, BFA Key Words and Ideas Syracuse University, MFA activism portraiture documentary power TEACHING CONNECTIONS TEACHING Lives and Works environmental racism Chicago, Illinois degradation social commentary injustice storytelling About the Artist An artist and activist, LaToya Ruby Frazier Related Artists uses photography, video, and performance Robert Adams Alfredo Jaar to document personal and social histories in Jordan Casteel Liz Magic Laser the United States, specifically the industrial Mel Chin Sally Mann heartland. Having grown up in the shadow Abigail DeVille Kerry James Marshall of the steel industry, Frazier has chronicled Olafur Eliasson Zanele Muholi the healthcare inequities and environmental Theaster Gates Catherine Opie —LaToya Ruby Frazier —LaToya crises faced by her family and her hometown of David Goldblatt Elle Pérez Braddock, Pennsylvania. The artist employs a Katy Grannan Pedro Reyes radically intimate, black-and-white documentary Graciela Iturbide Carrie Mae Weems approach that captures the complexity, injustice, and simultaneous hope of the Black American experience, often utilizing her camera and the medium of photography as an agent for social change. Her 2016 Flint is Family project traces the lives of three generations of women living through the water crisis in Flint, Michigan. “The mind is the battleground mind battleground is “The the for photography.” vv Art21 | Educators’ Guide | LaToya Ruby Frazier Art21 | Educators’ Guide | LaToya Ruby Frazier How to Use This Guide NOTE: Please view all films before Art21 encourages active engagement when teaching with our films. -
Graciela Iturbide's Private Universe
Graciela Iturbide’s Private Universe September 24th, 2010 by Cassandra McGrath An ostrich stares indignantly at me, hip jutting out as though I had ditched its Thanksgiving dinner. “What are you doing in this gallery staring at me?” it seems to say. “Why didn’t you bring the cranberry sauce?” Like an exaggerated cartoon version of an image in National Geographic, the ostrich is one of the more vivid subjects in Graciela Iturbide’s most recent exhibition, Graciela Iturbide: asor, ending this week in the Rose Gallery at the Santa Monica Museum of Art. Iturbide once said, “While using my camera I am, above all, an actress participating in the scene taking place at the moment, and the other actors know what role I play.” In “asor,” taken straight from her personal archive, Iturbide creates a fantasy world that explores the terror and joy of childhood solitude. Inspired by her grandchildren and Alice in Wonderland, Iturbide photographed the Southern United States, Italy, India and Mexico, using snippets from each location but nothing identifiable from any of them. Instead, she crafted a new narrative that makes the fantastic pedestrian and the pedestrian fantastic. Clocks and abandoned buildings take on the significance of mythical creatures. In one pair of photographs, two blank eyeholes carved out of rocks peer out at the viewer, observing and saying nothing. Birds gather ominously in the sky like locusts, and in one arresting image, sunflowers are backlit and shot from below, drooping and spiky as Venus Fly Traps. Iturbide plays with perspective: A giant plaster head sits next to a parked car, disorienting any sense of scale. -
Witnessing an Indigenous Mexico Within the Latin American Archive
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2020 Revisiting Juchitán: Witnessing an Indigenous Mexico Within the Latin American Archive Michelle G. de la Cruz The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3204 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] REVISITING JUCHITÁN: WITNESSING AN INDIGINEOUS MEXICO WITHIN THE LATIN AMERICAN ARCHIVE by MICHELLE GABRIEL DE LA CRUZ A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2020 © 2019 MICHELLE G. DE LA CRUZ All Rights Reserved ii Revisiting Juchitán: Witnessing an Indigenous Mexico within the Latin American Archive by Michelle Gabriel de la Cruz This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Katherine Manthorne Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Revisiting Juchitán: Witnessing an Indigenous Mexico within the Latin American Archive by Michelle Gabriel de la Cruz Advisor: Katherine Manthorne Throughout archives -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Mitos, Musas Muxe, y Mujeres Zapotecas: Illuminating Magnolia Permalink https://escholarship.org/uc/item/45v0b6b2 Author Lessing, Angela Cruzan Publication Date 2019 License https://creativecommons.org/licenses/by-nc/4.0/ 4.0 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Mitos, Musas Muxe, y Mujeres Zapotecas: Illuminating Magnolia A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Angela Lessing June 2019 Thesis Committee: Dr. Jason Weems, Chairperson Dr. Patricia Morton Dr. Robb Hernandez Copyright by Angela Lessing 2019 The Thesis of Angela Lessing is approved: Committee Chairperson University of California, Riverside Acknowledgements As a whole, this project would have never come to be without the support of numerous people. First, a thank you to my thesis committee. In particular, many thanks to my advisor Jason Weems for his advice, patience, encouragement, and challenges. Also, for reeling me back in when things became overwhelming, and remaining positive when I was too overly critical of myself and this project. Thank you for seeing the earnestness. Thank you to Patricia Morton for being a constant encourager since my project’s inception last spring. Your insights and critiques helped me condense and get back to the heart of what I really wanted this project to be about. Robb Hernandez, thank you for your much-needed feedback when it came to my defense, and for opening my eyes to topics I had not yet considered. -
Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E
Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E. to 2017 C.E. A Guide to the Exhibition by Noel Dorsey Vernon A STUDENT EXHIBITION GUIDE FOR EDUCATIONAL USE ONLY -- 11/12/17 (NDV) Author's Note This guide supports the art exhibition “Breaching Walls (Real and Imaginary)” held at Skyline Community College in November 2017, celebrating Latino Heritage Month. Many thanks to the administration and faculty of Skyline College for hosting and supporting it. Many thanks also to Arthur Takayama, Lorenzo Hernández and Cristina Hernández for organizing this exhibition. I am indebted to all of them for agreeing that a gallery guide might be of use and permitting me to author it. Thanks also to Professor Carlos Ugalde for taking the time to author "Comments on Art by Professor Carlos Ugalde for Lorenzo Hernández " which is included in this Exhibition Guide. My own background in Mexican and Hispano-American history is far less than was necessary to take on this project, so I spent a lot of time reading, looking at art, listening and asking questions. I had studied the history of Mexico many years ago in Guanajuato, Mexico, although my greatest interest was in Mexico's Pre-Columbian urban heritage. As a professor and Associate Dean of Environmental Design (now a Professor Emerita) in the CSU system, I was able to incorporate some this information into my landscape architecture history courses. I also am aware that much that has been written in English about Mexican art history was written by non-Mexicans. This has resulted in the misunderstanding that Mexican art history has been driven almost entirely by Western European art movements, styles and artists. -
Susan Steinhauser and Daniel Greenberg
The Getty A WORLD OF ART, RESEARCH, CONSERVATION, AND PHILANTHROPY | Fall 2014 INSIDE THIS ISSUE PRESIDENT’S MESSAGE The J. Paul Getty Trust is a cultural TABLE OF CONTENTS by James Cuno and philanthropic institution President and CEO, the J. Paul Getty Trust dedicated to critical thinking in the presentation, conservation, and interpretation of the world’s artistic President’s Message 3 legacy. Through the collective and Last year the Getty inaugurated the J. Paul Getty Medal to honor individual work of its constituent New and Noteworthy 4 extraordinary achievement in the fields of museology, art historical programs—Getty Conservation research, philanthropy, conservation, and conservation science. The first Institute, Getty Foundation, J. Paul Lord Jacob Rothschild to Receive Getty Medal 6 recipients were Harold M. Williams and Nancy Englander, who were Getty Museum, and Getty Research chosen for their role in creating the Getty as a global leader in art Institute—it pursues its mission in Los Angeles and throughout the world, Conserving an Ancient Treasure 10 history, conservation, and museum practice. This year we are honoring serving both the general interested Lord Jacob Rothschild OM GBE for his extraordinary leadership and public and a wide range of A Project of Seismic Importance 16 contributions to the arts. professional communities with the In November, we will bestow the J. Paul Getty Medal on Lord Rothschild, conviction that a greater and more WWI: War of Images, Images of War 20 profound sensitivity to and knowledge a most distinguished leader in our field. He has served as chairman of of the visual arts and their many several of the world’s most important art-, architecture-, and heritage- histories is crucial to the promotion Caravaggio and Rubens Together in Vienna 24 related organizations, and is renowned for this dedication to the of a vital and civil society. -
2016-2017Programs & Events
Jean Paul Goude, Danny Lyon, Ralph Gibson, Graciela Iturbide, Martin Parr, Nan Goldin, Elliot Erwitt, Richard Misrach, Susan Meiselas, Neil Leifer, Eli Reed, Nick Ut, Carrie Mae Weems, William Klein, Viktor Skrebneski, Tina Barney, Herman Leonard. 2016-2017 PROGRAMS & EVENTS OUR MISSION IS TO HONOR MASTER PHOTOGRAPHERS, DISCOVER AND CULTIVATE EMERGING PHOTOGRAPHERS, AND PROMOTE THE APPRECIATION OF PHOTOGRAPHY WORLDWIDE. The Lucie Foundation presents a variety of year- round programs that reach millions of individuals through multiple platforms and events, with concentrated efforts in Los Angeles and New York. The Lucie Foundation presents two signature events – Month of Photography Los Angeles © Sandro- 2014 and 2015 International Photographer of the Year and The Lucie Awards, which will celebrate its fourteenth year in October, in New York. The Foundation is seeking a diverse group of companies, organizations, media and internet partners to support our mission. With enhanced marketing, advertising, and promotional campaigns, the Lucie Foundation programs are targeted to thousands of potential new consumers each year. The Foundation presents the most celebrated annual event in photography, in addition to viable and sustainable educational programs that advance our mission to cultivate emerging and professional photographers. The Foundation’s sister effort, the International Photography Awards conducts an annual competition for professional, non-professional, and student photographers on a global scale, creating one of the most ambitious and comprehensive competitions in the photography world today. The winners of this competition are presented with Lucie statues and over $22,500 in cash prizes at The Lucie Awards. © Robert Leslie - 2008 Lucie Awards at Avery Fisher Hall, Lincoln Center, NYC The Lucie Foundation is a 501(c)3 charitable foundation. -
Contrastes (Pdf)
Contrastes Una evidencia queer: trabajo sexual y metodologías afectivas Juana María Rodríguez University of California, Berkeley [email protected] RESUMEN: Este artículo investiga dos libros que combinan fotografía con testimonios biográficos para documentar un albergue para trabajadoras sexuales de la tercera edad en Ciudad de México, Casa Xochiquetzal. La yuxtaposición de biografía y fotografía suscita nuevos interrogantes en nuestra investigación sobre la representación de la subjetividad sexual y las prácticas interpretativas que desplegamos para investigarlas. Este artículo se plantea los modos en que diferentes formas de documentación biográfica problematizan productivamente nuestros encuentros con las representaciones estéticas de la sexualidad; y cómo la presencia corporal del sujeto complica sus testimonios vitales. Este proyecto responde con la propuesta de una metodología queer que descompone las evidencias para valorar lo afectivo como un modo de enlazar con la alteridad. PALABRAS CLAVE: Trabajo sexual, Metodología, Queer, Fotografía, México. A Queer Evidence: Sex Work and Affective Methodologies ABSTRACT: This article considers two books that combine photography with biographical accounts to document a home for elderly sex workers in Mexico City, La Casa Xochiquetzal. Juxtaposing biographical narrative with visual forms raises new questions for our investiga- tions of sexual subjectivities and the interpretive practices we call upon to investigate them. This project asks, how do different forms of biographical documentation productively trouble our encounters with the aesthetic representations of sexuality? How does the corporeal presence of the subject complicate testimonies of their lives? This project responds by proposing a queer methodology that undoes what functions as evidence in order to valorize the affective as a mode of engaging alterity. -
Download Press Release
ROSEGALLERY is delighted to present Hay Tiempo, an exhibition of photographs by Graciela Iturbide. The exhibition opens the 23rd of February and will be on view until the 20th of April, 2019. Hay Tiempo is in on view alongside the landmark exhibition ‘Graciela Iturbide: Mexico’ at the Museum of Fine Arts, Boston. Graciela Iturbide, celebrated as one of Mexico’s most prolific and distinguished photographers, observes with patience and exhibits her world with beauty, serenity and dignity. Born into a conservative family in Mexico City, Iturbide decided to create her own path, leaving a traditional domestic life to pursue the arts. During her studies in cinematography at the Universidad Nacional Autonama de Mexico, she became the achichinle (the assistant) to Manuel Alvarez Bravo, the distinguished Mexican photographer who later became a lifelong mentor to Iturbide. In their time together, Álvarez Bravo constantly reminded Iturbide to pause and observe, asserting Hay Tiempo (There is Time). This patience to allow the moment to unravel and reveal itself echoed the notion of a Mexican poetic tempo, which is present throughout Mexican art, literature and life. Iturbide came to understand and employ her mentor’s slow, observational process as she photographed many cultures and spheres. Although Iturbide has photographed all over the world, she is widely known for the photographs she has taken in her native Mexico. While many twentieth-century photographers had documented Mexico through an outsider’s lens, shining light on poverty and politics in a neocolonial gesture, Iturbide reached beyond the document, photographing the poetic essence embedded in each moment. With Hay Tiempo in mind, she evokes a lyricism in her careful observations. -
Download Press Release
At this time, We the People must ask ourselves one question: who are we? Although it might seem like a simple question, the answer may not come so easily. When the founding fathers penned “We the People,” they may have meant themselves, the white men in power, but We the People of today incorporates a much wider set of individuals. When We lives to juxtapose with the Other, just as it has in our current climate, photography’s unique power to democratize becomes a necessity. In our previous show HE, SHE, THEY, we explored the multifaceted ways gender, sexuality, and identity build ourselves and our surroundings. And so, expanding our notions of us, Guy Stricherz's Americans in Kodachrome 1945- 65 ROSEGALLERY presents We, a selection of photographs, paintings, and First Television, Port Byron, Illinois, 1950 prints which strive to show the encompassing sense of We through our idiosyncrasies and connections. In the process of image making, a broadening sense of ourselves has expanded over time. To capture these changes, photography has served to document where we stand together and where we fail to meet. During the 1940s, Dorothea Lange traveled throughout the United States, illuminating the image of the many Others left to the side. Not so long after Lange, Kodachrome captured the post-war America which prided itself on a sense of unity through the sought-after American Dream. The vibrant early-color Kodachrome photographs of Guy Stricherz’s collection unveils an intimate view into this period of american middle-class prosperity that many still admire with a deep sense of nostalgia.