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Artecontexto, Arte, Cultura Y Nuevos Medios Núm. 14, 2007
ARTE CULTURAR NUEVOS MEDIOS A TECONTEX ARTTO CULTURE NEW MEDIA Dossier = ARTE Y LITERATURA: DERIVAS DE LA FICCIÓN / ART AND LITERATURE: DÉRIVES OF FICTION ( J.M. BONET • J. S. CÁRDENAS • E. VILA-MATAS • C. AIRA • B. S. JOHNSON • M. BELLATIN • L. VaLENCIA ) CARLOS PAZOS • JOSEPH KOSUTH • FEMINIST FUTURE • Cibercontexto + Info + Libros / Books + Críticas / Reviews - 2007 / 2 MEDIA W NE CULTURE ARTE CULTURA NUEVOS MEDIOS - 2007 / 2 ART TO X TECONTE R A Editora y Directora / Director & Editor: Colaboran en este número / Contributors in this Issue: Alicia Murría Juan Manuel Bonet, Juan Sebastián Cárdenas, Enrique Vila-Matas, Benjamin S. Johnson, Mario Bellatín, / 14 Coordinación en Latinoamérica Leonardo Valencia, Luis Francisco Pérez, Santiago B. Olmo, Latin America Coordinators: Alicia Chillida, Rubén Bonet, Chema González, Brian Curtin, Argentina: Eva Grinstein David Liss, Eva Grinstein, Filipa Oliveira, Mónica Núñez Luís, Alicia Murría, Uta M. Reindl, Mariano Navarro, Joana Neves, México: Bárbara Perea INDEX Asún Clar, Francisco Baena, José Ángel Artetxe, Rosa Queralt, Equipo de Redacción / Editorial Staff: Rosa Pera, Bea Espejo, Juan Vicente Aliaga, Natalia Maya, Alicia Murría, Natalia Maya Santacruz, Isabel Tejeda, Pedro Medina. Santiago B. Olmo. [email protected] Especial agradecimiento / Special thanks: A Juan Sebastián Cárdenas por su trabajo en la elaboración de este dossier. Asistente editorial / Editorial Assistant: Natalia Maya Santacruz SUMARIO / Directora de Publicidad / Advertising Director: ARTECONTEX TO Marta Sagarmínaga [email protected] ARTECONTEXTO arte cultura nuevos medios es una publicación trimestral de ARTEHOY Publicaciones y Gestión, S.L. Directora de Relaciones Internacionales Impreso en España por Técnicas Gráficas Forma International Public Relations Manager: Producción gráfica: El viajero / Eva Bonilla. -
Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
La Pintura Mural Mexicana
La pintura mural mexicana En las culturas prehispánicas mesoamericanas se realizaron extraordinarias pinturas murales como las de Cacaxtla en Tlaxcala y las mayas de Bonompak (en México), que conmemoran pasajes bélicos, junto a sus protagonistas, exquisitamente ataviados. En el siglo XX, la resurrección de la pintura mural se debió principalmente a tres artistas mexicanos: Diego Rivera, José Clemente Orozco y David Alfaro Siqueiros, quienes, desde 1920, trabajaron en distintas ciudades de la República Mexicana, de Estados Unidos y en algunos países de América Latina. Diego Rivera es el iniciador de la escuela mexicana de pintura mural, en la que destacan como grandes figuras José Clemente Orozco y David Alfaro Siqueiros. La intención era llevar a través; de la pintura, la enseñanza de la Historia de México, con sus hechos y personajes. Su obra la constituyen composiciones de vivos colores, que conmemoran la rebelión del pueblo contra los sistemas opresivos, la formación del mestizaje por la unión entre indígenas americanos y españoles, el pasado histórico y la proyección al futuro, la naturaleza humana con sus contradicciones, y, en síntesis, la búsqueda de la esencia humana y su trascendencia hacia la divinidad, todo ello dentro de un marco de monumentalidad. La pintura mural es uno de los aspectos más destacados del arte mexicano del siglo XX, además de una manifestación única en la época en que se produce. Muchos muralistas mexicanos han usado su arte para promocionar ideas políticas. De esta forma se decoraron edificios gubernamentales, bibliotecas, hospitales y escuelas en México y en otros países. Murales de México Justo Fernández López http://www.hispanoteca.eu El muralismo mexicano – 1920-1950 Al terminar el periodo revolucionario en México, en 1920, fue elegido presidente M. -
2020-2021 Newsletter Department of Art History the Graduate Center, Cuny
2020-2021 NEWSLETTER DEPARTMENT OF ART HISTORY THE GRADUATE CENTER, CUNY 1 LETTER FROM THE EXECUTIVE OFFICER Dear GC Art History Community, The 2020-21 academic year has been, well, challenging for all of us at the GC, as I imagine it has for you. The building—boarded up in November for the elections—is still largely off-limits to students and faculty; the library is closed; classes and meetings have been almost exclusively virtual; and beyond the GC, many of us have lost friends, family, or jobs due to the pandemic and its repercussions. Through it all, we have struggled to keep our community together and to support one another. I have been extraordinarily impressed by how well students, faculty, and staff in the program have coped, given the circumstances, and am I hopeful for the future. This spring, we will hold our rst in-person events—an end-of-year party and a graduation ceremony for 2020 and 2021 Ph.D.s, both in Central Park—and look forward to a better, less remote fall. I myself am particularly looking forward to fall, as I am stepping down as EO and taking a sabbatical. I am grateful to all of you for your help, advice, and patience over the years, and hope you will join me in welcoming my successor, Professor Jennifer Ball. Before getting too excited about the future, though, a few notes on the past year. In fall 2020, we welcomed a brave, tough cohort of ten students into the Ph.D. Program. They have forged tight bonds through coursework and a group chat (not sure if that's the right terminology; anyway, it's something they do on their phones). -
Presentación De Powerpoint
INFORME CORRESPONDIENTE AL 2017 INFORME CORRESPONDIENTE AL 2017. 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 año 2017 ante la Asamblea General de Socios. Agradezco a todos los asistentes de su presencia en la actual asamblea informativa, dando a conocer todos los por menores realizados en el presente año, los cuales he de empezar a continuación: 1.- Se asistió a la reunión general de la Cisac, tratándose temas diversos según el orden del día presentado, plantando sobre el acercamiento con autores de los países: Guatemala, Panamá y Colombia para la conformación de Sociedades de Gestión en dichas naciones, donde estamos apoyando para su conformaciones y así tener mayor representatividad de nuestros socios, además de la recaudación de regalías. Les menciono que en primera instancia se desea abrir con el gremio de la música, pero una vez instaurada la infraestructura se piensa trabajar a otros gremios como la nuestra. Actualmente estamos en platicas de representación de nuestro repertorio en las sociedades de gestión ya instaladas en Costa Rica y Republica Dominicana donde existen pero para el gremio musical, considerando utilizar su plataforma e infraestructura para el cobro regalías en el aspecto de artes visuales en dichos países, tal como se piensa realizar en las naciones antes mencionadas una vez creadas. Dentro de la asamblea general anual de la CISAC, llevada a cabo en New York, logramos cerrar la firma de un convenio con la Sociedad de Autores y Artistas Visuales y de Imágenes de Creadores Franceses, con residencia en París, con ello cumpliendo con la meta de tener más ámbito de representación de los derechos autorales de nuestros socios nacionales. -
Cartelera Cultural Octubre 2011
CARTELERA CULTURAL OCTUBRE 2011 OFICIALÍA MAYOR Dirección General de Promoción Cultural, Obra Pública y Acervo Patrimonial SECRETARÍA DE HACIENDA Y CRÉDITO PÚBLICO Ernesto Cordero Arroyo Secretario de Hacienda y Crédito Público Luis Miguel Montaño Reyes Oficial Mayor José Ramón San Cristóbal Larrea Director General de Promoción Cultural, Obra Pública y Acervo Patrimonial José Félix Ayala de la Torre Director de Acervo Patrimonial Fausto Pretelin Muñoz de Cote Director de Área Edgar Eduardo Espejel Pérez Subdirector de Promoción Cultural Rafael Alfonso Pérez y Pérez Subdirector del Museo de Arte de la SHCP Juan Manuel Herrera Huerta Subdirector de Bibliotecas María de los Ángeles Sobrino Figueroa Subdirectora de Control de Colecciones Museo de Arte de la SHCP Antiguo Palacio del Arzobispado www.hacienda.gob.mx/museo Galería de la SHCP www.hacienda.gob.mx/museo Biblioteca Miguel Lerdo de Tejada www.hacienda.gob.mx/biblioteca_lerdo Palacio Nacional www.hacienda.gob.mx/palacio_nacional CONTENIDO 4 24 35 36 39 MUSEO DE ARTE OBRAS DE LAS GALERÍA RECINTO DE FONDO HISTÓRICO DE LA SHCP COLECCIONES DE LA SHCP HOMENAJE A DON DE HACIENDA Antiguo Palacio SHCP Guatemala 8, BENITO JUÁREZ ANTONIO del Arzobispado En otros museos Centro Histórico Palacio Nacional, ORTIZ MENA Moneda 4, Segundo Patio Mariano Palacio Nacional Centro Histórico 39 40 42 45 FONDO HISTÓRICO PALACIO BIBLIOTECA CENTRO CULTURAL DE HACIENDA NACIONAL MIGUEL LERDO DE LA SHCP ANTONIO Plaza de la DE TEJADA Av. Hidalgo 81, ORTIZ MENA Constitución s/n República de Centro Histórico Palacio Nacional Centro Histórico El Salvador 49 MUSEO DE arte DE la SHCP • ANTIGUO Palacio DEL arzobispado • Moneda 4 , Centro Histórico NI MUERTO MALO, NI NOVIA FEA PINTURA, DIBUJO, ARTE OBJETO, INSTALACIÓN, FOTOGRAFÍA Y ESCULTURA Público en General SEDE: MUSEO Y GALERÍA DE ARTE DE LA SHCP INAUGURACIÓN: 18 DE OCTUBRE, 19:00 HRS. -
Departamento De Padres De Familia
Servicios Educativos del Estado de Chihuahua DEPARTAMENTO DE PADRES DE FAMILIA Directorio de Centros de Trabajo activos en la Entidad de Chihuahua Ciclo 2013-2014 C.T. NOMBRE DEL CENTRO DE TRABAJO LOCALIDAD MPIO. TIPO DIRECTOR PRESIDENTE DE PADRES DE FAMILIA 08DJN0280Z LEONOR LOPEZ ORELLANA MIGUEL AHUMADA AHUMADA PREESCOLAR LETICIA HERRERA MERAZ ROCIO CECILIA ORTEGA APODACA 08DJN1406W JARDIN DE NIÐOS PROGRAMA ESPECIAL FRANCISC LAS PLAYAS AHUMADA PREESCOLAR BLANCA ALICIA CALDERON BETANCOURT CRISTINA QUEZADA JIMENEZ 08DJN1415D JARDIN DE NIÐOS PROGRAMA ESPECIAL ISAAC NE MIGUEL AHUMADA AHUMADA PREESCOLAR MARISELA GARFIO FERNANDEZ MAIRA IDALY ALVIDREZ PIÑON 08DJN2068T OSCAR MARES MIGUEL AHUMADA AHUMADA PREESCOLAR ADRIANA RIVAS SANTIESTEBAN MARIBEL PIÑON RAMIREZ 08DJN1428H JARDIN DE NIÐOS PROGRAMA ESPECIAL NIÐOS HE ALAMOS DE PEÑA AHUMADA PREESCOLAR MAURA ELENA AGUIRRE RUIZ ANTONIA RECENDEZ ARREONDO 08DJN1418A JARDIN DE NIÐOS PROGRAMA ESPECIAL ESTEFANI CHIHUAHUITA AHUMADA PREESCOLAR GRACIA ARMENDARIZ NORIEGA RUBI JIMENEZ 08DPR0569Q JUAN ALVAREZ LAS PLAYAS AHUMADA PRIMARIAS LUZ IRASEMA VILLANUEVA RUEDA YURIDIA JIMENEZ BAEZ 08DPR1711V AGUSTIN MELGAR MIGUEL AHUMADA AHUMADA PRIMARIAS PROFRA OLIVIA CRUZ PIZARRO GRACIELA SOLEDAD MOLINA GONZALEZ 08DPR1750X VALENTIN GOMEZ FARIAS EJIDO ZARAGOZA AHUMADA PRIMARIAS JESSICA RIOS YUDMA GAYTAN QUIÑONES 08DPR1963Z CASA ESCUELA VENUSTIANO CARRANZA MIGUEL AHUMADA AHUMADA PRIMARIAS MARIA DE JESUS LOPEZ RUIZ PRISMA ARCINIEGA AVILA 08DPR2117B 13 DE JULIO DE 1981 SAN LORENCITO AHUMADA PRIMARIAS CLAUDIA SOCORRO MORENO -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
Grand Canyon, Zion and Sedona Experience”
1 2 Inverarte Art Gallery presents Jorge Obregon “Grand Canyon, Zion and Sedona Experience” Opening and Artist Reception, Wednesday, October 17th, 2018 On view October 17th, 2018 through January 9th, 2019 Inverarte Art Gallery 923 N Loop 1604 E Ste 103, San Antonio, TX 78232 Contact +1 210-305-6528 mail: [email protected] Mon - Thu 10:00 to 19:00 Fri - Sat 10:00 to 17:00 www.inverarteartgallery.com Grand Canyon, Zion, and Sedona Experience “Grand Canyon, Zion and Sedona Experience,” this could be the title showed not only the landscape, but they also included the buildings and of an adventure movie or a documentary, but in this case, it is the name of people who populated those places. Therefore those paintings were more this exhibition which consists of 18 paintings made by Jorge Obregon in than artworks but also historical testimonies of the landscape and customs his latest expedition. But looking back at it, why not, it is also the name of of that time. However, it was not until 1855, with the arrival to Mexico of the this catalogue that narrates a little of the history of such excellent artist, as Italian painter Eugenio Landesio, as a landscape and perspective professor well as his participation and relationship with the history of art in Mexico. at the Academy of San Carlos, that landscape painting truly began in Mexico. Moreover, it presents us a movie in slow motion, meaning, frame by frame, Eugenio Landesio had several excellent disciples, but the most outstanding about his adventure through the Colorado Plateau. -
Finding Aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154
Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154 Finding aid updated by Meghan Jordan, June 2016 AG 154: Lola Alvarez Bravo Archive, 1901-1994 - page 2 Lola Alvarez Bravo Archive, 1901-1994 AG 154 Creator Bravo, Lola Alvarez Abstract Photographic materials (1920s-1989) of the Mexican photographer Lola Alvarez Bravo (1903 [sometimes birth date is recorded as 1907] -1993). Includes extensive files of negatives from throughout her career. A small amount of biographical materials, clippings, and publications (1901-1994) are included. The collection has been fully processed. A complete inventory is available. Quantity/ Extent 32 linear feet Language of Materials Spanish English Biographical Note Lola Álvarez Bravo was born Dolores Martínez de Anda in 1903 in Lagos de Moreno, a small city in Jalisco on Mexico's Pacific coast. She moved to Mexico City as a young child, after her mother left the family under mysterious circumstances. Her father died when she was a young teenager, and she was then sent to live with the family of her half brother. It was here that she met the young Manuel Alvarez Bravo, a neighbor. They married in 1925 and moved to Oaxaca where Manuel was an accountant for the federal government. Manuel had taken up photography as an adolescent; he taught Lola and they took pictures together in Oaxaca. Manuel also taught Lola how to develop film and make prints in the darkroom. -
80 Aniversario Del Palacio De Bellas Artes
INSTITUTO NACIONAL DE BELLAS ARTES Dirección de Difusión y Relaciones Públicas Subdirección de Prensa "2015, Año del Generalísimo José María Morelos y Pavón" México, D. F., a 19 de noviembre de 2015 Boletín Núm. 1570 Celebrará el Salón de la Plástica Mexicana su 66º aniversario con una serie de exposiciones, dentro y fuera de los muros del recinto La muestra principal será inaugurada el jueves 19 de noviembre a las 19:30 Recibirán reconocimientos Arturo García Bustos, Rina Lazo, Arturo Estrada, Guillermo Ceniceros, Luis Y. Aragón y Adolfo Mexiac el 8 de diciembre A lo largo de más de seis décadas de existencia, el Salón de la Plástica Mexicana (SPM) se ha caracterizado por ser extensivo e incluyente, y en el que todas las corrientes del arte mexicano y las generaciones de artistas tienen cabida. Así lo asevera Cecilia Santacruz Langagne, coordinadora general del organismo dependiente del Instituto Nacional de Bellas Artes (INBA), al informar que se celebrará su 66º aniversario con diversas actividades. Aun cuando el SPM ya no continúa con su vocación inicial –ser una galería de venta libre para la promoción de sus integrantes–, en ningún momento ha dejado de ser un referente para el arte mexicano, refiere Santacruz. Desde su fundación en 1949, el SPM ha incluido la obra más representativa de la plástica nacional. A pesar de las múltiples vicisitudes por las que ha atravesado, han formado parte de él cientos de pintores, escultores, grabadores, dibujantes, ceramistas y fotógrafos de todas las tendencias y generaciones. Paseo de la Reforma y Campo Marte S/N, Módulo A, 1er. -
Hombres Y Mujeres Muralistas on a Mission: Painting Latino Identities in 1970S San Francisco
HOMBRES Y MUJERES MURALISTAS ON A MISSION: PAINTING LATINO IDENTITIES IN 1970S SAN FRANCISCO Cary Cordova American Studies, Dickinson College, Carlisle, PA Abstract This article argues for the importance of murals as cultural texts, consciously formed to entertain, influence, and solidify local and transnational communities. In 1974, two teams of artists painted two legendary murals in San Francisco’s Mission District: In ‘‘Homage to Siqueı´ros,’’ the trio of male muralists presented themselves as heirs to famed Mexican muralists in order to solidify their indictment of conditions in the Americas and counter the participatory role of their patron, the Bank of America. In ‘‘Latino America,’’ the female muralists rejected the Chicano Movement’s emphasis on Mexican masters and declared a new feminist, collaborative iconography. Although the murals were dissimilar in terms of gender, approach, and aesthetics, the muralists were joined in their desire to unite the local Latino community through their depictions of a shared homeland, or an imagined Latin America. This article highlights the aesthetic, cultural, political, gendered, and regional dimensions of Latino identities through the lens of mural creation. Keywords community murals; pan-Latino identity; iconography; Mission District ‘‘An explosion of human colors’’: Murals in ascendance Since the late 1960s, cultural workers in San Francisco’s predominantly Latino Mission District have produced an impressive body of literary and artistic work. Their creative milieu was important in helping to mobilize the Chicano movement and spurring a Latino cultural renaissance of local and Latino Studies 2006, 4, (356–380) c 2006 Palgrave Macmillan Ltd 1476-3435/06 $30.00 www.palgrave-journals.com/lst Hombres y Mujeres Muralistas on a Mission ------------------------------------------------------------------------------------------------------ Cary Cordova 357 national significance.