Cover and layout design by Sharareh Khosravani
Published on the occasion of the Frida in Focus exhibition organized in association with UC's Hispanic Heritage Month celebration, University Of Cincinnati 2016
Cover and layout design by Sharareh Khosravani
Published on the occasion of the Frida in Focus exhibition organized in association with UC's Hispanic Heritage Month celebration, University Of Cincinnati 2016
Social Realism is an artistic movement, expressed in the visual and other realist arts, which depicts social and racial injustice, economic hardship, through unvarnished pictures of life's struggles.
Social Realism is an artistic movement, expressed in the visual and other realist arts, which depicts social and racial injustice, economic hardship, through unvarnished pictures of life's struggles.
Anzaldua Border ArteNepantla, el lugar de la FronteraBy R.docxrossskuddershamus
Anzaldua
Border Arte
Nepantla, el lugar de la Frontera
By: Ruben Ruiz
Introducing Border Art
Indigenous culture is being taught by whites in museums in their own version, upsets Anzaldua.
Talk as if Aztec culture has been dead for hundreds of years when there are still 10,000 Aztecs living.
Many cultures meet at USA/Mex. border while artists constantly change images and “place” according to themselves.
“Portrait” is an example of cultural rebirth of Chicana struggling to free self from oppressive gender roles.
Three Mothers of Chicana/o Art
La Virgen Guadalupe, La Malinche, and La Llorona
Cultural figures that re-read in works and represent resistance to repression and assimilation.
Barraza and painting of La Malinche is an example of this.
Retablos: traditional popular miracle paintings on metal, introduced by the Spanish.
Artists connect everyday life with political, sacred, and aesthetics in art.
Culture of Border Art
Culture touches and influences another, passes metaphors and gods before dies. (Metaphors are gods)
New cultures adopt, modify, and enrich images passing them on relating them to prevailing culture and era.
Introduces the concept of “Nepantla”
Nahuatl for in between states, uncertain terrain when moving from place to place, social class, race, sex position, or present to new identity.
Jorge Luis Borge’s Aleph, one spot on earth the contains all people and places residing in peace and unison.
Border in constant nepantla.
Examples of Border Art
Threats/Challenges & Resolutions
Threats
Appropriation by poplar culture, dominant art institutions, and economic depression.
Titles of “Chicana” or “border” artists are demeaning labels stripping legitimacy of the art. Signals inferiority to other artists.
Challenge and subvert imperialism of US and combat assimilation by US or Mexico but acknowledge both.
Supersedes pictorials, depicts soul of artist and soul of pueblo.
Autohistorias: who tells the story and what stories and histories are told.
Becoming dominant in art is not their goal, done for a purpose and a story.
Conclusion
The Border is a historical and metaphorical site where artists transform space, USA and Mexico into one.
Deals with shifting identities, border crossings, and hybridism.
“From earth we are born, to earth we shall return.” (pg. 184)
Discussion
Have you ever been to a border between two countries? What was it like? Do you feel that border arte is truly a representation of multiple cultures between the US and Mexico meshed into one unique culture? Explain.
What does it mean to you when Anzaldua says, “from earth we are born, and to earth we shall return”? Do you think life is a cycle and that earth “eats the dead”?
.
1 Chicana Expression—Later 20th Century Public AVannaJoy20
1
Chicana Expression—Later 20th Century
Public Art and the Public Interest1 [Since the 1960s, a number of artists have engaged in
debates] over the nature of public space and the art that is to be placed within this space. In the
past in the United States, public art works often functioned as representations of civic virtues
meant to instill valuable moral lessons. They were also intended to mark the common values of a
diverse community and nation: heroic military efforts in defense of one’s country or one’s
freedoms, respect for the laws of the land. The 1960s changed all that. As people began to march
for civil rights and against the involvement of the United States in the war in Vietnam, many
began to look at public art and ask: “Whose values are being represented? Whose traditions and
beliefs? To whom are these works supposed to speak?” Certainly artists in the 1930s had created
images of working-class Americans in government buildings throughout the country, but those
murals omitted much—the racism directed at African Americans, Native Americans, Latinos and
Asian Americans, the struggles to unionize, the labor of women outside the home. Calls were
issued for a new kind of public art, one that was truly, in the words of the art historian Arlene
Raven, “in the public interest.”
Walls of Pride: Chicano/a Murals These calls were met most effectively by a new generation
of muralists, who began covering walls throughout the country with images of local history or of
the less celebratory side of national history. These artists argued that a public art could only be
truly public if those who shared space with it were consulted about its ultimate form and use. In
California in particular, a new and dynamic movement evolved that took inspiration from both the
murals of Mexico and the struggles of farm workers in the United States, led by Cesar Chavez
and Luisa Moreno, to unionize under the United Farm Workers of America (UFW).
The growing political activism of individuals of Mexican descent around this unionization drive, which
ultimately grew into a full-blown civil rights movement, led to the adoption by many of the name Chicano,
derived from Mexicano. While it had circulated as an informal term for several decades within
communities whose members described themselves as Mexican Americans, it was now used publicly
as a form of positive self-identification, indicative of a new political consciousness and a commitment
to social change. One of the first Chicano murals was produced in 1968 by Antonio Bernal on the side of
the UFW Center in Del Ray, California. The piece celebrates modern revolutionary leaders, including
Pancho Villa, and Emiliano Zapata (key figures in the Mexican Revolution of 1910-20), Cesar Chavez, ,
Malcolm X, and Martin Luther King. A companion piece depicted Pre-Columbian leaders.
Chicana Muralist Judith Baca and The Great Wall of Los An ...
This is a PowerPoint I created concerning the Mexican holiday of Dias de Los Muertos. I was fortunate enough to have visited Mexico during this event. This gives quite a bit of information about the customs associated with Dias de Los Muertos.
The Legacy of Breton In A New Age by Master Terrance LindallBBaez1
Brave Destiny 2003 for the Future for Technocratic Surrealmageddon Destiny for Andre Breton Legacy in Agenda 21 Technocratic Great Reset for Prison Planet Earth Galactica! The Prophecy of the Surreal Blasphemous Desires from the Paradise Lost Governments!
The perfect Sundabet Slot mudah menang Promo new member Animated PDF for your conversation. Discover and Share the best GIFs on Tenor
Admin Ramah Cantik Aktif 24 Jam Nonstop siap melayani pemain member Sundabet login via apk sundabet rtp daftar slot gacor daftar
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
thGAP - BAbyss in Moderno!! Transgenic Human Germline Alternatives ProjectMarc Dusseiller Dusjagr
thGAP - Transgenic Human Germline Alternatives Project, presents an evening of input lectures, discussions and a performative workshop on artistic interventions for future scenarios of human genetic and inheritable modifications.
To begin our lecturers, Marc Dusseiller aka "dusjagr" and Rodrigo Martin Iglesias, will give an overview of their transdisciplinary practices, including the history of hackteria, a global network for sharing knowledge to involve artists in hands-on and Do-It-With-Others (DIWO) working with the lifesciences, and reflections on future scenarios from the 8-bit computer games of the 80ies to current real-world endeavous of genetically modifiying the human species.
We will then follow up with discussions and hands-on experiments on working with embryos, ovums, gametes, genetic materials from code to slime, in a creative and playful workshop setup, where all paticipant can collaborate on artistic interventions into the germline of a post-human future.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
1. A
look
into
Global
Art
and
the
theme
of
death
in
Mexican
art
By:
Hannah
Aguilera
ART
160
Calavera
de
Madero
by
Jose
Guadalupe
Posada
2.
The
theme
of
death
fascinates
me,
as
it
is
one
thing
that
links
all
people
of
all
cultures
together.
I
am
specifically
intrigued
in
how
the
concept
of
death
is
involved
in
certain
cultures
art,
such
as
Mexico.
It
is
late
October
and
I
am
traveling
to
Mexico
to
experience
the
Day
of
the
Dead,
or
Dia
de
Muertos.
This
is
a
day
in
Mexico
where
the
country’s
past
is
involved,
such
as
Aztec
beliefs,
and
a
day
where
death
is
celebrated.
This
is
the
ancient
Aztec
death
god
Mictlantecuhtli,
who
influenced
Mexico’s
current
view
on
death.
Skeletal
imagery
in
the
Aztec
world
was
a
symbol
of
health
and
ferPlity,
which
could
have
developed
Mexico’s
view
of
death
meaning
rebirth.
3.
Catholicism
also
is
a
large
influence
on
Hispanic
art.
The
older
tradiPons
of
the
indigenous
people
have
blended
with
Catholicism
to
create
art
pieces
that
reflect
death,
such
as
Diego
Velazquez’s
Cristo
crucificado.
Done
in
1632,
Velazquez’s
beliefs
in
ChrisPanity
influenced
this
portrayal
of
death.
For
ChrisPanity,
the
crucifixion
and
death
of
Christ
is
the
most
important
aspect
of
the
religion.
The
principle
of
Catholicism,
and
the
death
of
Jesus
Christ
also
have
influenced
many
Hispanic
arPsts
to
visually
display
death
in
all
forms
of
art.
This
wood
carving
of
the
crucifixion,
made
by
an
unknown
arPst
in
the
14th
century,
illustrates
just
how
far
back
the
beliefs
of
Catholicism
have
influenced
art.
4.
I
wandered
through
the
city
of
Tzintzuntzan,
Mexico
to
learn
more
about
the
history
of
Day
of
the
Dead.
It
is
a
joyous
yet
sacred
Pme
where
people
rejoice
the
souls
of
the
dead.
As
seen
in
this
picture,
Mexico’s
celebraPon
of
Day
of
the
Dead
is
much
more
public
than
any
other
naPons.
Dia
de
Muertos
reveals
how
open
and
unafraid
Mexican’s
are
of
death.
In
Tzintzuntzan,
Mexico
during
the
2009
Day
of
the
Dead
fesPval)
5. Origins
I
learned
about
the
brief
origins
of
Dia
de
Muertos.
It
was
first
seen
publicly
more
than
500
years
ago
when
Spanish
Conquistadors
came
to
Mexico
and
saw
naPves
performing
a
ritual
mocking
death.
Since
the
Spanish
conquered
the
Aztecs,
Day
of
the
Dead
has
merged
with
Mexico's
major
religion,
Catholicism,
but
is
based
on,
and
sPll
maintains
the
basic
concepts
of
the
Aztecs.
Day
of
the
Dead
lasts
from
Oct
31-‐
Nov
2nd.
October
31st
is
All
Hallows
Eve,
November
1st
is
‘el
Dia
de
los
innocents
and
All
Saints
Day.
November
2nd
is
all
Souls
Day.
6. Aztec
tradiPons
and
beliefs
are
the
basis
for
Day
of
the
Dead.
This
ancient
Aztec
goddess
was
the
wife
of
the
death
god
Mictlantecuhtli.
Her
name
is
Mictecacihuatl
,
the
Lady
of
the
Dead,
and
the
Aztecs
held
an
annual
celebraPon
of
her.
Aztec
statue
of
Mictecacihuatl,
from
the
16th
century
7. Art
plays
a
very
important
role
in
the
celebraPon
of
Day
of
the
Dead.
Skull
art’s
origin
lies
in
Aztec
culture.
The
most
famous
skull
arPst
of
Mexico
was
engraver
and
printmaker
Jose
Guadalupe.
His
humorous
image
of
skeletons
helped
shaped
Mexican’s
view
of
death.
La
Calavera
Catrina
c.
1913,
by
Jose
Guadalupe
Posada
8. Although
Skull
Art
is
the
most
popular
art
used
during
Day
of
the
Dead
fesPviPes,
there
are
also
temporary
art
pieces,
such
as
custom
altars
families
design
to
welcome
departed
spirits.
The
families
who
create
these
art
pieces
include
certain
tradiPonal
Mexican
altar
items,
such
as
candles
and
incense.
As
the
pictures
show,
altars
usually
contain
candles
and
incense
to
guide
spirits
back
to
their
altars.
Also
marigolds
are
included,
because
those
flowers
symbolize
death.
9. What
are
the
Influences
of
Death
in
Mexican
Art?
Death
is
not
only
prominent
in
art
because
of
Mexico’s
origin
or
religion,
but
also
because
of
civil
unrest.
The
Mexican
RevoluPon
of
1910,
and
the
civil
unrest
that
followed
created
backdrops
for
many
arPsts.
A
few
of
Mexico's
most
famous
arPsts
incorporated
death
in
their
art
as
a
result
of
civil
unrest.
I
looked
further
into
these
arPsts,
such
as
Diego
Rivera,
Frida
Kahlo,
and
Jose
Gaudalupe
Posada.
10. Diego
Rivera
Diego
Rivera
was
a
famous
muralist
from
Mexico,
who
would
portray
death
in
his
large
painPngs.
He
had
very
powerful
views,
which
were
brought
on
by
the
Mexican
RevoluPon.
Rivera
was
involved
in
a
government
sponsored
mural
program,
but
then
joined
the
Mexican
Communist
Party.
His
mural
The
Arsenal
depicted
his
feelings
towards
the
government.
11. Rivera’s
strong
poliPcal
views
meshed
with
death
in
his
Death
of
the
Capitalist
painPng.
By
painPng
with
the
technique
fresco,
his
images
become
apart
of
a
wall.
This
image
of
the
death
of
his
poliPcal
opponents
is
now
an
integral
part
of
the
wall.
Rivera
paints
large
murals
to
make
a
statement.
12. Frida
Kahlo
“I
never
painted
dreams....
I
painted
my
own
reality.…I
paint
what
ever
passes
through
my
head
without
any
other
consideraEon."
Frida
Kahlo
was
one
of
the
most
influenPal
and
famous
arPsts
of
Mexico.
She
ofen
did
self-‐
portraits.
Just
as
Diego
Rivera,
her
painPngs
reflected
her
feeling
of
her
environment.
As
she
said
above,
she
only
painted
her
reality,
what
she
was
surrounded
by.
Whether
it
was
civil
unrest,
or
her
failing
health,
Kahlo
did
not
shy
away
from
painPng
about
death.
The
Wounded
Table,
shows
how
open,
or
aware
Kahlo
is
of
death
by
painPng
herself.
13.
In
Thinking
About
Death,
although
the
main
focus
is
Kahlo,
she
excellently
uPlizes
her
background
space.
The
green
leaves
could
almost
certainly
represent
life.
Both
life
and
death
are
represented
in
this
painPng,
implying
that
Kahlo
clearly
isn’t
afraid
to
discuss
or
ponder
about
death.
This
image
portrays
Kahlo’s
understanding
of
life
and
death,
and
in
Mexican
culture,
death
is
associated
with
rebirth.
This
might
be
why
Kahlo
painted
growing
green
leaves
in
the
background;
although
death
occurs,
rebirth
and
new
life
will
follow.
14. Jose
Guadalupe
Posada
Jose
Guadalupe
Posada
was
a
famous
engraver
and
printmaker
in
Mexico
in
the
late
1800’s
through
early
1900’s.
His
artwork
and
use
of
skulls,
played,
and
sPll
is,
a
vital
part
of
the
Day
of
the
Dead
fesPviPes.
His
poliPcal
saPre
radiated
in
his
prints
of
skeletons.
Posada
influenced
how
Mexicans
view
death,
and
his
imagery
of
skeletons
is
sPll
seen
every
year
on
Day
of
the
Dead.
His
environment,
the
civil
unrest
and
disdain
for
government,
influenced
his
art
to
mock
death.
His
poliPcal
saPre
was
something
that
Mexicans
could
relate
to.
El
Jarabe
de
Ultratumba
(The
Folk
Dance
Beyond
the
Grave)
c.1910
15. Death
being
prominent
in
Mexican
culture
is
interesPng
because
death
means
rebirth.
Combined
religion
and
tradiPon
of
the
Aztecs
led
to
the
idea
of
rebirth.
Death
isn’t
a
sorrowful
thing
in
Mexican
culture
because
it
leads
to
path
of
a
different
life.
This
is
why
death
is
so
commonly
found
in
Mexican
art.
It
isn’t
something
brings
an
end,
but
brings
a
beginning.
Death
is
not
something
that
is
feared,
but
embraced.
ArPsts
such
as
Frida
Kahlo
and
Joes
Guadalupe
Posada
recognized
that,
and
created
art
about
death
freely.
Mexicans
embrace
death,
and
that’s
why
it
is
so
prominent
in
Mexican
culture,
and
involved
in
art
and
holidays
such
as
Day
of
the
Dead.
Calavera
Oaxaqueña
(Oaxacan
Skull)
by
Posada
c.1903
