In late spring of 1926, the National Autonomous University of Mexico offered Modotti’s friend and (soon-to-be-famous) author, Anita Brenner, a contract for a book entitled Mexican Decorative Arts. Brenner was an integral figure in Modotti’s artist and bohemian group in Mexico City in the 1920s. A Mexican born, Texas-educated journalist, she returned to Mexico and became a key member of the indigenismo movement in the 1920s, as well as a leftist radical (Albers SFS 127). She immediately recruited Edward Weston as the project photographer for the book. Weston insisted that Brenner assign Modotti to the project as his partner. In the book, Brenner sought to provide American readers an accessible look (she wrote the book in English) at the realities of the Mexican Revolution. It was to have three sections: the syncretism of pre-Hispanic and Catholic beliefs and practices, popular arts and religion of the Mexican Colonial period, and the Mexican Renaissance artists: the tres grandes, Muralists Diego Rivera, Jose Clemente Orozco, and David Alfaro Siquieros, as well as Francisco Goitia, and Jean Charlot, all of whom were friends or acquaintances of Weston and Modotti. Brenner also planned a second book, The Mexican Renaissance. She eventually consolidated the two books into Idols Behind Altars, The Story of the Mexican Spirit, published in 1929 (Albers DV 31).
Brenner hired Modotti and Weston to create 200 photographs of items and architecture throughout Mexico, at places indicated by Brenner. To Brenner the assignment offered a religious portfolio of what Mexican life was and is. Some of the arts and crafts Brenner proposed to be photographed comprised carved polychrome Madonnas, colonial era ex-votos, painted calabashes, Catholic a...
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I found the photography piece “From the Road to Tepeyac,” by Alinka Echeverria intriguing. This photography piece was a man kneeling down with a sculpture tied to his back. The woman in the statue had a green flag with multiple stars draped around her. This woman appeared to be the Virgin Mary. Underneath the Virgin Mary was an angel with green, white and red wings. The colors on the flag around the Virgin Mary and the angel’s wings represent Mexico. Also, the stars on the flag present the repetition constructed in this photography piece. There is no physical line for the foreground; however, this piece directs the eye from one point to another by implication. When I first saw this photography piece, I questioned why the statue of the Virgin Mary and an angel were on the man’s back. I realized the Virgin Mary and ...
Genaro Padilla, author of the article Yo Sola Aprendi: Mexican Women’s Personal Narratives from Nineteenth-Century California, expands upon a discussion first chronicled by the historian, H. H. Bancroft and his assistants, who collected oral histories from Spanish Mexican women in the 1870’s American West. Bancroft’s collection, however, did not come from this time period, but closer to the 1840s, a time where Mexican heritage still played a strong presence throughout most of California. These accounts, collected from many different women, in many various positions and lifestyles, shows just how muted the Mexican female voice could be during this era.
The study of religion is often a rigorous process because the central tenets of the subject: image, ritual, and myth are often copious in their complexity. For example, consider the multiple meanings that are inherent in the image of a crucifix. Some Christians might view it as an image of suffering, whilst others would reject that notion and instead perceive it to be one of love. These differences may seem inconsequential at first, but they can overtime shape the beliefs of an individual and by extension a community. To understand this dynamic better one only has to analyze the Christo Aparecido (Christ Appeared), an authentic Mexican crucifix with a fascinating history from the colonial era to the present. This history is made known by the text, Biography of a Mexican Crucifix: Lived Religion and Local Faith from the Conquest to the Present by Jennifer Hughes, from which I contend that over the life of the Christo Aparecido there continues to be an understanding among devotees that this crucifix is sacred because it displays animus while being a vestige for the sacred to occupy. To support my position I will attempt to relate the moments where the Christo Aparecido is said to show signs of life, in particular his stay in Mexico City during the colonial era and his role in more modern times with rival groups clashing over its efficacy in the village of Totolapan.
The Aztec Calendar stone has become one Mexico’s national symbols. After decades of Latin American Art being degraded, underappreciated, forgotten, and abused, it has become one of Mexico’s most national treasures. After years of research from the Codex Mendoza, the Calendar, and documents by the Spanish conquistadors, it has gradually become clear as to how the Aztecs truly lived and how art played such a huge role in their society. It has not only given researchers insight to the Aztec culture and religion and has also given influence to modern and the mainstream media today such as fashion and graphic design.
Rodriguez, Ralph. "Chicana/o Fiction from Resistance to Contestation: The Role of Creation in Ana Castillo's So Far From God."MELUS. 25.2 (2000): 63-87. Print.
They say a picture is worth a thousand words. However, what words are being told in the Codex Mensoza 1964, Lám (Brumfiel 1991: 224) and more importantly what influential role did the Spanish heritage have in the artifacts? These credentials were offered as form of resolute of Aztec women’s productive activities in Mexico. Nevertheless, Bromfiel paint a different picture of the Aztec women. In these sketches, Brumfiel draws our attention to the background in which the women are performing their “productive activities.” (Brumfiel 1991: 224) At first glance, these images are portraying Aztec women. However, after careful scrutiny of the photos, I noticed several an uncanny discoveries. In the first two portraits, both of the weaving instruments appear to be bound to Roman and/or Spanish columns (to my untrained eye). In the last two illustrations, I observed “productive activities” (Brumfiel 1991: 224) of cooking being performed, in what appears to be in a non-traditional work environment that does not correspond with the “productive activities” (Brumfiel 1991: 224) of the women in that era. One appears to be working in luxury room while the other seems to be overlooking the mountains from a balcony. Although these duties were performed in a residential setting, the pictures fail to emphasi...
Mia Hebib is a Bosnian born artist based out of New York, who works primarily in jewelry design and sculptural forms. She was in a show called “Islam Contemporary” at the Lichtenstein Center for the Arts on August 2, 2013. Mia Hebib started her education as a jewler at the School for Applied Arts and Design in Zagreb, Croatia. In 2001, she received a Bachelor of Fine Arts in Metals and Jewelry from the Savannah College of Art and Design. Mia moved to New York City to continue her exploration in metal. She started a corporate jewelry design career with Jacmel Jewelry, Liz Claiborne, Henri Bendel and BCBG Generation and offered design consultation to Tory Burch jewelry design team. Since she was part of a corporate jeweler, she became distanced from her fine art background. In order to rekindle her fine art roots, she launched her series “Oblik Atelier”. After her experiences working with corporate jewelry,she wanted to return to hand crafted work rather than working as a jewelry designer.
Architecture, like many things, can also be made for the use of or inspired by the symbols people believe in. Therefore, art and architecture in Ancient Mesoamerica can be stated to be made for the use of religious symbols. Making architecture and art forms takes effort, dedication, and patience. Architecture can take years to make, as was s...
Frida Kahlo and Barbara Kruger’s issues faced throughout their lifetime can be connected to our course. Frida Kahlo’s artwork could be discussed in the Guerrilla Girls book that we have read early in the semester. The Guerrilla Girls portrayed different artists, and their battles faced as women. Frida Kahlo’s art was overshadowed by her artistic husband, Diego Rivera, similarly to many other women artists in the Guerilla Girls. Most women were not credited for their artwork, and were not portrayed in guilds unless they were married or came from a wealthy family. Barbara Kruger’s photography portrayed many feminist prints. Throughout this course, we have discussed the meaning of being a feminist and the issues feminist face
Paintings illustrate the Aztec’s style of clothing and the important roles they play as such as those who led the ceremonies wore robes
Art movement’s characteristics vary from nation to nation, but painting can be used as a critique of the socio-political reality in a given nation. It is a creative way to communicate with a population about economic, education and social issues. Therefore, The History of Cuernavaca and Morelos: Crossing the Barranca (ravine) Detail (1929-30) Fresco by Diego Rivera is a good example of how an artist uses his creativity to connect with people in relation to Mexican history. Art is an inspired way to share the complexity and challenge of a community. It can be used a way to respond to them likewise. Therefore, the concept of accessibility takes ingenuity. With his deepen knowledge of European and ancient Mexican art, it was not a documentation
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
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..., "Major Problems In Mexican American History" The Mexican Immigrant Experience, 1917-1928, Zaragosa Vargas (233)
In 1910, the first social upheaval of the 20th century was unleashed in Mexico. Known as the Mexican Revolution, its historical importance and impact inspired an abundance of internationally renowned South American authors. Mariano Azuela is one of these, whose novel, "The Underdogs" is often described as a classic of modern Hispanic literature. Having served as a doctor under Pancho Villa, a revolutionary leader of the era, Azuela's experience in the Revolution provides The Underdogs with incomparable authenticity of the political and social tendencies of the era between 1910 and 1920. The Underdogs recounts the living conditions of the Mexican peasants, the corruption of the government troops, and the revolutionary zeal behind the inspiring causes of the revolution. In vivid detail and honest truth, Azuela reveals the actuality of the extent of turmoil that plagued Mexico and its people during the revolution. However, before one can acknowledge The Underdogs as a reflection of the Mexican Revolution one must have an understanding the political state of Mexico prior to the Revolution and the presidents who reigned during it.