Pan American Women

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Pan American Women Pan American Women U.S. Internationalists and Revolutionary Mexico Megan Threlkeld university of pennsylvania press philadelphia POLITICS AND CULTURE IN MODERN AMERICA Series Editors Margot Canaday, Glenda Gilmore, Michael Kazin, Thomas J. Sugrue, and Stephen Pitti Volumes in the series narrate and analyze political and social change in the broadest dimensions from 1865 to the present, including ideas about the ways people have sought and wielded power in the public sphere and the language and institutions of politics at all levels—local, national, and transnational. The series is motivated by a desire to reverse the fragmentation of modern U.S. history and to encourage synthetic perspectives on social movements and the state, on gender, race, and labor, and on intellectual history and popular culture. Copyright ᭧ 2014 University of Pennsylvania Press All rights reserved. Except for brief quotations used for purposes of review or scholarly citation, none of this book may be reproduced in any form by any means without written permission from the publisher. Published by University of Pennsylvania Press Philadelphia, Pennsylvania 19104-4112 www.upenn.edu/pennpress Printed in the United States of America on acid-free paper 24681097531 A Cataloging-in-Publication Record is available from the Library of Congress ISBN 978-0-8122-4633-9 Frontispiece: Pan American Unity Mural: The Marriage of the Artistic Expression of the North and of the South on this Continent, Diego Rivera. Courtesy of City College of San Francisco, ᭧2013 Banco de Me´xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York. For Trey This page intentionally left blank.

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ELP Subject Index
Packard, Emmy Lou - Subject lndex SUBJECT INDEX - Part I: Notes on Rivera Fresco at Golden Gate lnternational Exposition, July 195 (pages l- s). - Part II: Interview by Mary Fuller-Mc-Chesney, May 1 I and 12,1964 @tages 6-42) Aguirre,Ignacio as artteacher, 12 and Taller de Grafica Poplar, 13 Amautoff, Victor and Ceurnav aca mur al. 29 as artist in San Francisco, 29 studio at 7 16 Montgomery, 34 Anderson, Milo as Pan American mural assistant, 38 Anthony, Mary as symbol for women architects inmtxal,4,33 Art in Action.2,14 Barnes, Matt, as Pan American Unity mural assistant 2, 14-16,78,24 suicide of, 38 Bauhaus, 39 Berggruen, Heinz as Paris gallery owner,24 Benton, 29 Biddle, George,27 Bojus, kene, assistant on Pan American Unity mural,2,15,16,32 exhibition in San Francisco. 16 marriage to Mr. Weber, 16; see alsoWeber Dry Colors in preliminary mural drawings as woman painter, 33 San Francisco, departure from,2 Bone Coal factory, 11 Brownsville, Texas,4 Burbank, Luther, 11 as subject in Stock Exchange mural, 11 Bruton Sisters,23,29 California Pelican (U.C. Berkeley journal), 15 California School of Fine Arts.13-20-27 Calles, Elias Plutarco, 8 Carins, Donald as model for mural,4, 33 Catter, Dudley as artist, 15 carving of ram's head at San Francisco City College, 15 at Golden Gate International Exposition, 15 as subject in Pan American Mural 2,4,33 totem pole at Golden Gate Park, 15 Cartoon of mural bequeathing of to SFMOMA, 33 theft of, 33 Chapingo, 9; see a/so Rivera, Diego Packard, Emmy Lou - Subject Index Chaplin, Charlie and The Great Dictator movie.4.
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Robert Xavier Rodríguez Musical Theater Works: Frida, Tango
NWCR824 Robert Xavier Rodríguez Musical Theater Works: Frida, Tango Frida suffers a miscarriage Frida observes Diego's affairs with other women Frida seeks comfort with other men and women Frida and Diego divorce Frida and Diego remarry Frida 's apotheosis and death Angelina Réaux, soprano; Voices of Change: Jo Boatright, piano; Mary Medrick, accordion, Ross Powell, clarinet; John Holt, trumpet (flugelhorn); Ron Wilson, trombone; Deborah Mashburn, percussion; Enric Madriguera, guitar; Dwight Shambley, double bass; Maria Schleuning, violin; Barbara Hustis, viola; Peter Steffens, cello; Robert X. Rodríguez, conductor Tango, Chamber Opera in One Act (1986) ................. (24:28) English text compiled by the composer from news clippings (1913–14); Spanish translation by Josefina Barrera de García. 2. I News clippings, 1913–14 ....................... (8:01) 3. II Letters and sermons of clerics in Italy and the U.S., 1913–14 .............................. (9:29) 4. III News clippings, 1914 .......................... (6:58) 1. Concert Suite from Frida (1998) ........................ (32:21) Rafael Alvarez, tenor; Voices of Change: Jo from the opera Frida, The Story of Frida Kahlo; Boatright, piano, Mary Medrick, accordion, Book by Hilary Blecher. Lyrics and Monologues by Harvey Boatright, flute, Ross Powell, Migdalia Cruz; Music by Robert Xavier Rodríguez. clarinet, Deborah Mashburn, percussion, Prelude Maria Schleuning, violin, Peter Steffens, Frida, the tomboy cello, Robert X. Rodríguez, conductor The accident Total Playing Time: 56:49 Frida begins to paint Frida marries Diego Rivera Ê & © 1999 Composers Recordings, Inc. Frida and Diego visit the USA © 2007 Anthology of Recorded Music, Inc. Notes Founded in 1974, Voices of Change is one of the best known however, and that is the premise on which Voices of Change and well-established new music ensembles in the United has based its occasional forays into the world of musical States.
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Frida’S Imaginary Friend
Enter, stage left: Frida’s imaginary friend. Her name is also Frida. They play games. Frida Jonah Winter Illustrator Ana Juan Scholastic 2002 Text and Illustration Pages 8-9 Frida Jonah Winter Ana Juan [Illustrator] Scholastic Books 2002 Frida Kahlo is possibly Mexico’s most widely her recuperation from the accident. She sent recognized and appreciated painter. Mainly paintings to the well-established Mexican self-taught, she belonged to a circle of painter Diego Rivera who encouraged Kahlo, innovative and influential artists in Mexico and and in 1928 the two painters married; their internationally. Kahlo was married to the artist stormy relationship would last for the rest of Diego Rivera. She was also an active Kahlo's life. participant in the cultural and political movements of her time. Largely self-taught, Kahlo was decisively influenced by the starkness, high color, and Her work combines folk-art elements with a bold, naive figuration of the popular and highly personal symbolism that can be both religious arts of Mexico. She connected those mysterious and disquieting. Her self-portraits arts with developments in French and Spanish painted between 1925 and 1954 offer a surrealism, in which modernist abstraction complex autobiography, exploring both gave way to realistic images placed in physical and psychological pain. Kahlo unexpected-even bizarre and nightmarish- contracted polio as a child and as a teenager juxtaposition. One of Kahlo's early supporters was involved in a serious bus accident that was the leader of the French surrealists, Andre required many surgeries throughout her life. Breton, who in 1939 sponsored an exhibition of Her relationship with Rivera was a source of her work in Paris.
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Diego Rivera and John Dewey on the Restoration of Art Within Life by Terrance Macmullan
Dividing Walls and Unifying Murals: Diego Rivera and John Dewey on the Restoration of Art within Life by Terrance MacMullan Dividing Walls and Unifying Murals: Diego Rivera and John Dewey on the Restoration of Art within Life by Terrance MacMullan English Abstract In Art as Experience, John Dewey decried the estrangement of art from lived human experience, both by artificial conceptual walls and the physical walls that secluded art within museums. Instead he argued that making and enjoying art are crucial organic functions that sustain communities and integrate individuals within their environments. In the 1920’s Diego Rivera became one of the luminaries of the Mexican muralist movement by creating frescoes that were rooted in Mexican life, both in their subject matter and public location. Rivera and the other artists working within the government cultural program guided by José Vasconcelos created murals that boldly expressed the new values of democracy, peaceful revolution, racial equality and cultural pride. This essay explores the deep resonance between Rivera’s most prominent murals from this period and Dewey’s argument that art is a refined and integral feature of human experience. In particular, this essay will examine the great extent to which these men independently came to the common understanding that for people to thrive and grow they need to create and experience art that grows out of and remains rooted in their culture. Without claiming that either thinker influenced the other, this essay argues that their works mutually inform and enrich each other. Both men sought to free art from the museum, but where Dewey urged us tear down the walls that separated art from lived experience, Rivera transformed walls themselves into murals that unified and educated the people of Mexico and restored their culture.
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Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro Zone)
edition ENGLISH n° 284 • the international DANCE magazine TOM 650 CFP) Pina Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro zone) € 4,90 9 10 3 4 Editor-in-chief Alfio Agostini Contributors/writers the international dance magazine Erik Aschengreen Leonetta Bentivoglio ENGLISH Edition Donatella Bertozzi Valeria Crippa Clement Crisp Gerald Dowler Marinella Guatterini Elisa Guzzo Vaccarino Marc Haegeman Anna Kisselgoff Dieudonné Korolakina Kevin Ng Jean Pierre Pastori Martine Planells Olga Rozanova On the cover, Pina Bausch’s final Roger Salas work (2009) “Como el musguito en Sonia Schoonejans la piedra, ay, sí, sí, sí...” René Sirvin dancer Anna Wehsarg, Tanztheater Lilo Weber Wuppertal, Santiago de Chile, 2009. Photo © Ninni Romeo Editorial assistant Cristiano Merlo Translations Simonetta Allder Cristiano Merlo 6 News – from the dance world Editorial services, design, web Luca Ruzza 22 On the cover : Advertising Pina Forever [email protected] ph. (+33) 09.82.29.82.84 Bluebeard in the #Metoo era (+39) 011.19.58.20.38 Subscriptions 30 On stage, critics : [email protected] The Royal Ballet, London n° 284 - II. 2020 Les Ballets de Monte-Carlo Hamburg Ballet: “Duse” Hamburg Ballet, John Neumeier Het Nationale Ballet, Amsterdam English National Ballet Paul Taylor Dance Company São Paulo Dance Company La Scala Ballet, Milan Staatsballett Berlin Stanislavsky Ballet, Moscow Cannes Jeune Ballet Het Nationale Ballet: “Frida” BALLET 2000 New Adventures/Matthew Bourne B.P. 1283 – 06005 Nice cedex 01 – F tél. (+33) 09.82.29.82.84 Teac Damse/Keegan Dolan Éditions Ballet 2000 Sarl – France 47 Prix de Lausanne ISSN 2493-3880 (English Edition) Commission Paritaire P.A.P.
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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.
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Self Portraits Artist Frida Kahlo Was One of Mexico's Greatest Artists Who Painted Mostly Self-Portraits After She Was Severely
Self Portraits Artist Frida Kahlo was one of Mexico's greatest artists who painted mostly self-portraits after she was severely injured in a bus accident in 1925. During her recovery from the accident, Kahlo began her painting career. Kahlo later became politically active, fighting for the rights of the working class and poor people, and the rights of women. She exhibited her paintings in Paris and Mexico before her death in 1954. The Frida Kahlo self portrait below, is titled “Frieda and Diego Rivera,” 1931, and features a self portrait of the artist herself and her husband, painter and activist Diego Rivera. The San Francisco Museum of Modern Art provides us with a fun fact about the painting: “Microscopic examinations of this painting show us that Kahlo originally painted herself wearing a pink dress with blue decoration and pink shoes, instead of the green dress and red and green shoes she wears in the final painting. Look at the different colors Kahlo used to depict herself and her husband, the artist Diego Rivera. What do you think about the choice of colors for each of the figures?” Take a moment to explore this painting, thinking about and answering the following questions: ● What is happening in this painting? What do you see that makes you say that? ● How would you describe the people in the picture? Who do you think is the most important figure? What do you see that makes you think that? ● What clues in the painting tell you about who these people are and where they are from? Now it’s your turn to try your hand at creating a self-portrait.
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Like the Traditional Mexican Dresses She Usually Wore and Posed In, Her Distinctive Attire Can Be Considered in Symbolic Terms
FriDa Kahlo (Mexican, 1907–1954) / annE umLanD like the traditional Mexican dresses she usually wore and posed in, her distinctive attire can be considered in costume. Yet her dangling earring, delicately boned hands and face, and diminutive high- symbolic terms as a form of self-defining costume. heeled shoes—along with the numerous tendrils of cutoff hair that carpet the floor— send signals that conflict with those of the “The picture is certainly one of Frida’s best, aside from Barr’s overly saccharine close-cropped haircut and man’s suit. Like as well as an exceptional document,” wrote translation of the Spanish lyrics Kahlo had man ray’s photographs of Kahlo’s friend Lieutenant Edgar Kaufmann, Jr., to alfred H. carefully painted across the top of her canvas, and loyal supporter marcel Duchamp in the Barr, Jr., director of The museum of modern his exchange with Kaufmann is revealing.4 guise of his female alter ego rrose Sélavy, art, referring to Frida Kahlo’s Autorretrato it testifies to the early priority he placed on the painting presents us with an image of con pelo cortado (Self-Portrait with Cropped acquiring a work by Kahlo as an important someone posing, not attempting to pass, as Hair) (1940, no. 1).1 Kaufmann and Barr had representative of contemporary mexican art the opposite sex.8 The deliberate ambivalence spent part of the summer of 1942 traveling and to the strong impression Kahlo’s and resultant gender confusion contribute together in mexico, looking for works of art Autorretrato con pelo cortado had made on to the work’s uncanny allure.
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Finding Aid to the Nelleke Nix and Marianne Huber Collection: the Frida Kahlo Papers, 1930-1954 Archives of Women Artists
Finding Aid to the Nelleke Nix and Marianne Huber Collection: The Frida Kahlo Papers, 1930-1954 Archives of Women Artists Finding Aid Prepared by and Collection Processed by: Jason Stieber (December, 2007) and Jennifer Page, (March, 2012) Betty Boyd Dettre Library & Research Center Email: [email protected] Phone: 202-266-2835 Table of Contents (Click a section title to skip down.) Overview ................................................................................................................................. 1 Administrative Information ............................................................................................... 2 Biographical Note ................................................................................................................ 3 Scope and Content Note ................................................................................................... 6 Organization and Arrangement Information ............................................................... 7 Names and Subject Terms ............................................................................................... 7 Container Inventory ............................................................................................................ 8 Series1: Correspondence ............................................................................................... 8 Series 2: Drawings ......................................................................................................... 21 Series 3: Printed Matter ..............................................................................................
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Latin American and Latino/A Art
Detail from The Mural of the Mythological Animals, 250 - 350 CE, Teotihuacan, Street of the Dead. This and many artworks from Teotihuacan are on view at the De Young Museum, San Francisco, in the exhibition, Teotihuacan, City of Water, City of Fire, through February 11. Latin American and Latina/o Art 111 TTh 3-4:15 pm Kadema 145 Professor Elaine O'Brien Office: Kadema 190 Hours: W 2:30-5 pm [email protected] http://www.csus.edu/indiv/o/obriene/ Course Description: This Writing Intensive course is an overview of several thousand years of art history of Latin American (the Rio Grande south to Cape Horn) and Latina/o art to the present. After an introduction to major ancient cultures with selected readings and documentary films about Mesoamerican and Andean cultures, our focus shifts to Spanish and Portuguese colonial art. We look at the art of the Independence Era in the first half of the 19th century, the rise of modernism across Latin America in the 1920s, and finish our course with selections of contemporary Latin American and Latina/o art, with a focus on regional Chicana/o art. We will look briefly at the art of the Latin American African Diaspora, focusing on the former French Caribbean colony of Haiti. A trip to see Diego Rivera’s Pan American Unity mural at the Ocean Campus of San Francisco City College is assigned. The expansive geographical and historical breadth of the course allows us to ask what (if any) identifiable forms, attitudes, and concepts characterize “Latin American and Latina/o” art.
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Figure 1. Diego Rivera, Pan American Unity: Marriage of the Artistic Expression of the North and South of This Continent (1940)
Figure 1. Diego Rivera, Pan American Unity: Marriage of the Artistic Expression of the North and South of this Continent (1940). Fresco. 22.5 x 6.74 meters. All rights reserved. Unauthorized public performance, broadcasting, transmission, or copying, mechanical or electronic, is a violation of applicable laws. © City College of San Francisco. www.riveramural.com. Downloaded from http://read.dukeupress.edu/comparative-literature/article-pdf/61/3/189/237957/CLJ613-01spitta.pdf by guest on 29 September 2021 Downloaded from http://read.dukeupress.edu/comparative-literature/article-pdf/61/3/189/237957/CLJ613-01spitta.pdf by guest on 29 September 2021 Figure 2. Miguel Covarrubias, “The Fauna and Flora of the Pacifi c” (1939). Lacquer fresco on masonite, 15 feet ¾ inch x 13 feet 14 inches. From the series of six murals, Pageant of the Pacifi c [Esplendor del Pacífi co]. By permission of the Miguel Covarrubias Estate. Downloaded from http://read.dukeupress.edu/comparative-literature/article-pdf/61/3/189/237957/CLJ613-01spitta.pdf by guest on 29 September 2021 SILVIA SPITTA AND LOIS PARKINSON ZAMORA Introduction: The Americas, Otherwise HEN THE 1939–40 Golden Gate International Exposition opened in San W Francisco in concert with the inauguration of the Golden Gate Bridge and the Bay Bridge, two Mexican artists —Diego Rivera (1886–1957) and Miguel Cova- rrubias (1904–57)— were commissioned to celebrate this engineering achieve- ment. Both chose to depict much more than the bridges, indeed nothing less than the entire hemisphere in Rivera’s mural Pan American Unity (Fig. 1) and the Pacifi c basin and rim in Covarrubias’s Pageant of the Pacifi c (Esplendor del Pacífi co) (Fig.
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ART: the Mexico of My Father (PDF File)
32 The Mexico of My Father Fall 2015 33 give meaning to the lives and extreme sacrifices of a because it did not reflect Mexico’s turbulent, traumatic fractured people after the Revolution. In a country where reality. So Vasconcelos bought train tickets for the artist illiteracy hovered at 90 percent in the aftermath of a and his new wife, Guadalupe, to travel across Mexico. The devastating conflict, one vital tool was the promotion of experience would help Rivera to better understand the mural painting through a government-funded program. country, its people, and their revolution and to translate Ordinary people, from peasants to factory workers, would that new perception into art. Rivera’s long, meandering be moved, inspired, educated, and amused with powerful trip through Mexico provided the passion and the subjects art on public walls. Muralists like Siqueiros and Orozco for his murals. His art gained meaning, relevance, and were also part of this program. power, and his artistic genius forged the style we associate A year after his return to Mexico, Diego Rivera with Rivera today. developed his first mural in the Antiguo Colegio de San From the lives of working-class people to images of Ildefonso, at the request of Vasconcelos. In the mural indigenous Mexicans, farmers, politicians, and depictions called “La Creación,” Rivera portrayed several well-known of power struggles, Diego Rivera’s work became an account contemporary women artists from Mexico. One of the of Mexico’s reality. women who posed nude for Rivera was Guadalupe Marín. In front of more than 300 attendees, Rivera y Marín Photo from Google Art Project/Wikimedia Commons.
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