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Arquitecto Y Humanista
50 Nuestros maestros Marcial Gutiérrez Camarena: Arquitecto y humanista Cecilia Gutiérrez Arriola Académica del Instituto de Investigaciones Estéticas de la UNAM igura predominante en el ámbito de la docencia de la arqui- el periodo virreinal. Su infancia transcurre en la ciudad de Tepic, tectura y la vida académica de la Escuela Nacional de Ar- adonde se muda la familia en busca de una mejor economía, en quitectura de los años cuarenta, a Marcial Gutiérrez tiempos en que el porfiriato agonizaba y estallaba la lucha arma- Camarena aún se le recuerda porque fue un hombre comprome- da. En noviembre de 1919, junto con su hermano Alberto, se tras- tido con su profesión y un universitario entregado a la transmi- ladó a la Ciudad de México, emprendiendo la dificil aventura de sión del conocimiento. dejar la tierra natal y trabajar para poder estudiar. Hizo el ba- Participe de una brillante y privilegiada generación que se chillerato en el Colegio Francés Morelos, de los Maristas, y en formó bajo la égida del padre del Movimiento Moderno y del 1923, ingresó a la Escuela Nacional de Bellas Artes, en la vieja gran maestro que fue José Villagrán García, grupo que trascen- Academia de San Carlos, que ya estaba incorporada a la Uni- dió no sólo por el sino por la huella que marcó con sus propues- versidad Nacional, para estudiar la carrera de arquitectura, tas funcionalistas en la arquitectura mexicana. cuando la ciudad de México empezaba a vivir grandes momen- Nació en San Blas, Nayarit, en febrero de1898, cuando su pa- tos en la educación y la cultura, propiciados por el ministro Jo- dre trabajaba para la Casa de comercio Lanzagorta y fungía como sé Vasconcelos. -
The Emergent Decade : Latin American Painters and Painting In
a? - H , Latin American Painters and Painting in trie 1'960's THE - -y /- ENT Text by Thomas M. Messer Artjsts' profiles in text and pictures by Cornell Capa DEC THE EMERGENT DECADE THE EMERGENT DECADE Latin American Painters and Painting in the 1960's Text by Thomas M. Messer Artists' profiles in text and pictures by Cornell Capa Prepared under the auspices of the Cornell University Latin American Year 1965-1966 and The Solomon R. Guggenheim Museum > All rights reserved First published 1966 Library of Congress Catalog Card Number: 66-15382 Design by Kathleen Haven Printed in Switzerland bv Buchdruckerei Winterthur AG, Winterthur CONTENTS All text, except where otherwise indicated, is by Thomas M. Messer, and all profiles are by Cornell Capa. Foreword by William H. MacLeish ix Acknowledgments xi Introduction xm Brazil Correspondence: Thomas M. Messer and Marc Berkowitz 3 Primitive Art 16 Profile: Raimundo de Oliveira 18 Uruguay Uruguayan Painting 29 Argentina Correspondence: Thomas M. Messer and Samuel Paz 35 Profile: Rogelio Polesello and Martha Peluffo 48 Expatriates: New York 59 Profile: Jose Antonio Fernandez-Muro 62 Chile Profile: Ricardo Yrarrazaval 74 Correspondence: Thomas M. Messer and Jorge Elliott 81 Peru Correspondence: Thomas M. Messer and Carlos Rodriguez Saavedra 88 Profile: Fernando de Szyszlo 92 Colombia Correspondence: Thomas M. Messer to Marta Traba 102 Profile: Alejandro Obregon 104 Correspondence: Marta Traba to Thomas M. Messer 1 14 Venezuela Biographical Note: Armando Reveron 122 Living in Painting: Venezuelan Art Today by Clara Diament de Sujo 124 Correspondence: Thomas M. Messer to Clara Diament de Sujo 126 Expatriates: Paris 135 Profile: Soto 136 Mexico Profile: Rufino Tamayo 146 Correspondence: Thomas M. -
THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay
The iconography of Mexican folk retablos Item Type text; Thesis-Reproduction (electronic) Authors Giffords, Gloria Fraser, 1938- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:27:37 Link to Item http://hdl.handle.net/10150/552047 THE ICONOGRAPHY OF MEXICAN FOLK RETABLOS by Gloria Kay Fraser Giffords A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Robert M. -
Bernardo Gomez-Pimienta, Architect
BERNARDO GOMEZ-PIMIENTA, D ARCH International Criminal Court, The Hague CAM-SAM, AE-ANA, Hon FAIA, Hon FIRAC Finalist, La Haya, Netherlands Born in Brussels, Belgium on August 18, 1961. Professional Course Institutional Acknowledgment Universidad Mayor de San Andres, La Paz, Bolivia EDUCATION The Emirates Glass LEAF Awards 2008 Residential Building of the Year – Single Storey (Black House) International Architectural Award 06-13 European University of Madrid, Madrid The Chicago Athenaeum: Museum of Architecture and Design Doctorate in Architecture (Zacatecas building, Ave Fenix Fire Station) 1987 Columbia University, New York, New York Fellow Honorary Award of The American Institute of Architects AIA Master of Architecture HonFAIA 1986 Anahuac University, Mexico City World Architectural Festival Bachelor of Architecture Finalist (Ave Fenix Fire station) X Mexican Architecture Biennale HONORS AND AWARDS Silver Medal category: Service Buildings (Ave Fenix Fire station) Lighting Design Award 2012 III Iberoamerican Design Biennale, bid_12 (Reforma Theater) Mention, category: interior design (Antonio Castro Leal Library) Honorary Society of Universidad de las Americas UDLA, Puebla Founder Board member Merit award, 2012. FCARM “World Marble Awards 2008” Special mention interior design, (House AV) XII Mexican Architecture Biennale Silver Medal category: residential 2007 Chevalier de l´Ordre National de la Legion d´Honneur, (Mty House) Republique Francaise Silver Medal category: publications (BGP Arquitectura, Bernardo Gómez-Pimienta book) Biennale Miami + Beach 2007, Miami, EUA Gold medal ex aequo. Multi Family Housing Category, (Zacatecas, XI AMDI Award 2012. Building) First prize, institutional category (Antonio Castro Leal Library) Biennale Miami + Beach 2007, Miami, EUA Silver medal ex aequo. Single Family Category, (GDL 1House) Iberoamerican Award CIDI 2012, Excellence in Professional Practice of Architecture, Interior and Design. -
Title: the Avant-Garde in the Architecture and Visual Arts of Post
1 Title: The avant-garde in the architecture and visual arts of Post-Revolutionary Mexico Author: Fernando N. Winfield Architecture_media_politics_society. vol. 1, no.3. November 2012 Mexico City / Portrait of an Architect with the City as Background. Painting by Juan O´Gorman (1949). Museum of Modern Art, Mexico. Commenting on an exhibition of contemporary Mexican architecture in Rome in 1957, the polemic and highly influential Italian architectural critic and historian, Bruno Zevi, ridiculed Mexican modernism for combining Pre-Columbian motifs with modern architecture. He referred to it as ‘Mexican Grotesque.’1 Inherent in Zevi’s comments were an attitude towards modern architecture that defined it in primarily material terms; its principle role being one of “spatial and programmatic function.” Despite the weight of this Modernist tendency in the architectural circles of Post-Revolutionary Mexico, we suggest in this paper that Mexican modernism cannot be reduced to such “material” definitions. In the highly charged political context of Mexico in the first half of the twentieth century, modern architecture was perhaps above all else, a tool for propaganda. ARCHITECTURE_MEDIA_POLITICS_SOCIETY Vol. 1, no.3. November 2012 1 2 In this political atmosphere it was undesirable, indeed it was seen as impossible, to separate art, architecture and politics in a way that would be a direct reflection of Modern architecture’s European manifestations. Form was to follow function, but that function was to be communicative as well as spatial and programmatic. One consequence of this “political communicative function” in Mexico was the combination of the “mural tradition” with contemporary architectural design; what Zevi defined as “Mexican Grotesque.” In this paper, we will examine the political context of Post-Revolutionary Mexico and discuss what may be defined as its most iconic building; the Central Library at the Universidad Nacional Autónoma de Mexico. -
March 22-24 2012 Burbank, Ca
@ Woodbury University DESIGN INNOVATION AT THE NEXUS OF WATER, ENERGY, AND CLIMATE CHANGE MARCH 22-24 2012 BURBANK, CA WELCOME! The Arid Lands Institute at Woodbury University (ALI), in partnership with the California Architectural Foundation (CAF), is proud to welcome you to the 2012 Drylands Design Conference. ALI and CAF share a vision for a future in which the landscapes and communities of the West are environmentally, culturally, and economically resilient in the face of climate change. Design of the built environment has an unrecognized potential to provide vision and leadership within the constraints of water, energy, and climate change in the American West. Retrofitting the West: Adaptation by Design brings together architects, landscape architects, artists and engineers with leading policy analysts, scientists, and environmental leaders to debate a range of design strategies for the future. The conference kicks off with an opening reception at the A+D Architec- ture + Design Museum in Los Angeles on World Water Day, Thursday, March 22. On view through April 26, the exhibition, DRYLANDS DESIGN IN AN AGE OF CHANGE: Visionary Proposals for a Water-Scarce Future, showcases selected work from CAF’s William Turnbull Drylands Design Competition. The exhibition presents a portfolio of adaptive strategies large and small, rural and urban, high tech and low-carbon. The exhibition is scheduled to travel in the US and abroad. In an innovative cross-disciplinary collaboration, ALI and UCLA’s Insti- tute of the Environment and Sustainability provided technical and policy advising to five ALI research award winners chosen from the CAF William Turnbull Drylands Design Competition. -
Ricardo Legorreta
PREMIOS Y RECONOCIMIENTOS 1988 Académico de Número de la Academia de Artes México. 1990 Nombrado entre los 30 Arquitectos Líderes por el Programa de Arquitectura Domino´s, EUA. 1991 Académico titular de la Academía Internacional de Arquitectura, Sofía, Bulgaria. Premio Nacional de Artes del Gobierno Mexicano. 1992 Premio "Arquitecto de las Américas", Montevideo, Uruguay. 1993 "Creador Emérito del Sistema Nacional de Creadores", México. 1999 Medalla de Oro, Unión Internacional de Arquitectos (UIA). 2000 Medalla de Oro del Instituto Americano de Arquitectos (AIA). Plato de Oro de la Academy of Achievement, Arizona, EUA. 2001 Medalla al Mérito Profesional Turístico "César Balsa", México D.F. “Premio de Obras CEMEX 2001", 1er Premio a la Vida y Obra Cemex. 2002 Imposición de la Encomienda de Isabel la Católica del Gobierno Español. Grado de Doctor de Letras Humanas del Colegio de Santa Fe, Nuevo Mexico, EUA. Reconocimiento de la Federación y el Colegio de Arquitectos Cancún A.C. a la aportación a la arquitectura mexicana, Cancún, Quintana Roo, México. 2003 Homenaje ARPAFIL (Arte, Arquitectura y Patrimonio), Guadalajara, Jalisco. 2004 Doctorado Honoris Causa de la Universidad Roger Williams, Bristol, Rhode Island, EUA. Medalla Manuel Tolsa, UNAM, México D.F., México. Ricardo 2005 Medalla de oro de la Federación Panamericana de Asociaciones de Arquitectos. 2007 Premio Beethoven a la creatividad arquitectonica en las Americas Medalla Anáhuac en Arquitectura 2007, Universidad Anáhuac. Premio Internacional por la Sociedad de Arquitectos Americanos Registrados Legorreta (SARA), EUA. 2010 Premio Nacional de Arquitectura por la Asociación de Ingenieros y Arquitectos Fundador, Socio y de México A.C. y la UNAM Líder de diseño PARTICIPACIÓN EN CONSEJOS Y COMITÉS 1970-1981 Miembro del Consejo Internacional del Museo de Arte Moderno/ MOMA Nueva York. -
Ricardo Legorreta Un Hombre En El Camino De La Arquitectura
SINOPSIS RICARDO LEGORRETA UN HOMBRE EN EL CAMINO DE LA ARQUITECTURA Ricardo Legorreta retoma los valores de la arquitectura popular y la vida delas haciendas de los pueblos mexicanos, valores que están presentes continuamente en sus variadas obras realizadas primero en nuestro país y en la última década con una presencia significativa no sólo en los Estados Unidos de Norteamérica, si no en países como Japón, España, Israel, Costa Rica. Biografía: ace en México, D.F., el 7 de mayo de Arquitectura de Oaxaca, en 1983; y miembro N 1931. Realiza sus estudios profesionales del jurado del premio Pritsker, en 1984. en la Escuela Nacional de Arquitectura, UNAM. Se recibe de arquitecto el 10 de diciembre de Asesor-Jefe del Plan de Desarrollo Urbano de la 1953. Jefe del grupo de arquitectura Ciudad de México. experimental, de 1960 a 1964, en la ENA, UNAM. Dibujante, de 1948 a 1952, y jefe de Desde 1969, Legorreta ha dado taller, de 1953 a 1955, en el taller de José conferencias por todo México, Canadá, Villagrán García, de 1955 a 1960; práctica España, Japón, Argentina, Chile, Uruguay, privada en Legorreta Arquitectos, desde 1960, Colombia, Guatemala, Costa Rica, en sociedad con Noé Castro y Carlos Vargas, Inglaterra y Austria, así como en varias desde 1963; y diseños de muebles y accesorios desde 1977. universidades de Estados Unidos. Miembro del Consejo Internacional del Museo de Arte Moderno de Nueva York, en 1970; Ha sido profesor en la Universidad miembro del CAM-SAM, en 1955; emérito, en Autónoma de México, en la Universidad 1978; y socio honorario del American Institute Iberoamericana y en las universidades de of Architects, en 1979. -
Legorreta Y Las Fábricas Mexicanas*
02 El origen de un lenguaje arquitectónico LEGORRETA Y LAS FÁBRICAS MEXICANAS* The origin of an architectural language Legorreta And The Mexican Factories Juan Pablo Paredes Mier [email protected], Doctorando del CEU San Pablo, Madrid, España; Nacionalidad Mexicana *El presente artículo corresponde a una extracción del trabajo de investigación doctoral que actualmente se encuentra desarrollando y que lo titula: “Espacio Legorreta: Relaciones On- tológicas relevantes”, que se presentará como tesis de doctorado en Composición, Historia y Técnica en Arquitectura y Urbanismo, en la Escuela técnica superior de arquitectura de la CEU Escuela Internacional de Doctorado (CEINDO), campus Monte Príncipe; Madrid, España. Año 03 / No. 04 / Agosto - Diciembre 2019 02 Mundo, Arquitectura, Diseño Gráfico y Urbanismo Palabras clave: Arquitectura, lenguaje, haciendas, tradición, modernidad. Keywords: Architecture, lenguage, haciendas, tradition, modernity Resumen Abstract Lo que se pretende, es un breve reco- What is intended is a brief narrative rrido narrativo que indague sobre los journey that investigates the origins orígenes del léxico arquitectónico en of the architectural lexicon in Ricardo la obra de Ricardo Legorreta. Legorreta's work. Dominado por tipologías industriales, Dominated by industrial typologies, Hermosillo, México Hermosillo, —especialmente las del sector automo- - especially those of the automotive | triz— sus primeros encargos fueron sector - their first orders were the pro- producto de una nueva modernidad duct of a -
Mexico and the People: Revolutionary Printmaking and the Taller De Gráfica Opularp
Schmucker Art Catalogs Schmucker Art Gallery Fall 2020 Mexico and the People: Revolutionary Printmaking and the Taller De Gráfica opularP Carolyn Hauk Gettysburg College Joy Zanghi Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/artcatalogs Part of the Book and Paper Commons, Latin American Languages and Societies Commons, Latina/o Studies Commons, and the Printmaking Commons Share feedback about the accessibility of this item. Recommended Citation Hauk, Carolyn and Zanghi, Joy, "Mexico and the People: Revolutionary Printmaking and the Taller De Gráfica opularP " (2020). Schmucker Art Catalogs. 35. https://cupola.gettysburg.edu/artcatalogs/35 This open access art catalog is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. Mexico and the People: Revolutionary Printmaking and the Taller De Gráfica Popular Description During its most turbulent and formative years of the twentieth century, Mexico witnessed decades of political frustration, a major revolution, and two World Wars. By the late 1900s, it emerged as a modernized nation, thrust into an ever-growing global sphere. The revolutionary voices of Mexico’s people that echoed through time took root in the arts and emerged as a collective force to bring about a new self- awareness and change for their nation. Mexico’s most distinguished artists set out to challenge an overpowered government, propagate social-political advancement, and reimagine a stronger, unified national identity. Following in the footsteps of political printmaker José Guadalupe Posada and the work of the Stridentist Movement, artists Leopoldo Méndez and Pablo O’Higgins were among the founders who established two major art collectives in the 1930s: Liga de Escritores y Artistas Revolucionarios (LEAR) and El Taller de Gráfica opularP (TGP). -
Family, The, Rufino Tamayo
Tamayo, Rufino, The Family, Accession # 60.4 North America, Mexico oil on canvas 1936 G-376 Social/Historical Context Mexican writer Octavio Paz describes his country as having an “invisible history”--specifically, the Aztec model of domination, ritualism and human sacrifice, which continues to affect events and attitudes in the present. Mexico is part modern and part ancient, half Indian and half Spanish, Paz says. “Duality is not something added, artificial or exterior: it is our constituent reality.” No Mexican artist has better expressed that reality than Rufino Tamayo. While some of his subjects and his choice of colors were informed by Mexican art and culture, his flattened compositions and abstract forms derive from European modernism. Tamayo was at odds with the politically motivated narrative paintings of the Mexican muralists —Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros—whose work was shaped by the 1910 Mexican Revolution, and the continued belief that art should serve revolutionary ideals. Tamayo sought to create a more universal art form based on modernist principles. "I had difficulties with the Muralists, to the point that they accused me of being a traitor to my country for not following their way of thinking," said Mr. Tamayo. "But my only commitment is to painting. That doesn't mean I don't have personal political positions. But those positions aren't reflected in my work. My work is painting." Tamayo said, “my country is tragic. It is tragic because of a long history of foreign domination since the Spaniards. Such circumstances can hardly be expected to produce happiness. -
Archivo Is a Space Dedicated to Collecting, Exhibiting and Rethinking Design in Its Various Forms
About Archivo Diseño y Arquitectura Archivo is a space dedicated to collecting, exhibiting and rethinking design in its various forms. We are interested in exploring the meaning and potential of design in Mexico, as both a cultural signifier and a source of everyday innovation, with an enormous transformative power. Through a unique research collection open to the public as well as a rich, diverse program of exhibitions and activities, Archivo has estab- lished itself as a pioneering space and a fundamental reference for local architecture and design communities. Founded in 2012 by architect Fernando Romero and his wife Soumaya Slim, Archivo holds a design research collection consisting of over 1,500 design objects that cover a broad spectrum, from everyday objects of Mexican popular culture to limited editions and international design icons of the XXth and XXIst centuries. More than a simple design archive, Archivo functions as an exhibition space, a meeting place, a cultural laboratory, a forum for exchange and debate, and a key element for building knowledge and a critical approach to Mexi- can design. Archivo seeks to reaffirm the importance of design in everyday life, as an area of inquiry that integrates technical, productive, cultural and creative processes. Archivo offers a space for learning and also for critical confrontation, and is a pioneering institution in the field of design and architecture curating and research in Mexico. Archivo also wants to establish itself as a global reference for innovative approaches to the culture and practice of design. Architecture Archivo Collection Archivo is housed in a remarkable mid-century modern house built Archivo houses a design collection of over 1500 objects ranging from by artist and architect Arturo Chávez Paz, neighbouring Luis the first decades of the XXth century to the most recent innovations Barragán's own UNESCO World Heritage house and studio, in the and tendencies in design.