A Strange Mixture: The Art and Politics of Painting Pueblo Indians During the heyday of the Taos/Santa Fe School, which lasted from about 1915 to the mid-1930s, support came from two different kinds of patrons: those intrigued by an exotic and remote Indian civilization in the far Southwest, which somehow doubled as an early America; and those who looked on the same group of Indians as descendants of the ancient Anasazi tribes, with cultural attributes that merited preservation. Distinguishing between the two groups has never been easy; some patrons frequently crossed the line. Thus, constructing a historiography of the school—that is, a rough outline of how these different kinds of paintings have been understood over the years—is also difficult and confusing. When the Santa Fe Railroad crossed New Mexico in the early 1880s, and tourists began to flood the area, surveillance of these rites increased. How the artists fought back, with pamphlets and marches, during the intensely confrontational 1920s is only part of the story, however.
Parallel Histories: Spain, the United States, and the American Frontier Home / Historias Paralelas: España, Estados Unidos y la Frontera Americana About the Project Parallel Histories: Spain, the United States, and the American Frontier is a bilingual, multi-format English-Spanish digital library site that explores the interactions between Spain and the United States in America from the fifteenth to the early nineteenth centuries. A cooperative effort between the National Library of Spain, the Biblioteca Colombina y Capitular of Seville and the Library of Congress, the project is part of the Library of Congress Global Gateway initiative to build digital library partnerships with national libraries around the world. Parallel Histories: Spain, the United States, and the American Frontier is part of the Library of Congress' Global Gateway project to establish cooperative digital libraries with national libraries around the world. Acerca del Proyecto
A Bearded Man, a Water Bird, and a Divine Monkey: Recent Gifts of Mesoamerican Art Stone and ceramic sculptors in ancient Mesoamerica mastered representations of their subjects both in the round and in low relief. Such artists were held in high regard by their communities; in ancient Maya civilization, for example, we know that they were important enough to sign their masterworks. The works of three new sculptors from ancient Mexico—though their names have gone unrecorded—are now a part of The Met collection and are on display in gallery 358. All three artists exhibit a high degree of naturalism in some respects, but in each case they selectively depart from a faithful rendering of reality. For peoples of the Olmec civilization (ca. 1200–400 B.C.) in the Gulf Coast of Mexico, greenstone, especially jadeite, was perhaps the most highly valued material (a topic that will be explored in great depth in the upcoming exhibition Golden Kingdoms: Luxury and Legacy in the Ancient Americas). Fig. 1. Fig. 2. Fig. 3. Fig. 4. Fig. 5. Fig. 6. Fig. 7. Resources Coe, Michael D.
Border Heritage Center - Otis A Aultman Photo Collection By 1911 El Paso was a gathering place for many of the main personalities of the Mexican Revolution (Francisco Madero, Francisco (Pancho) Villa, Pascual Orozco) and after the shooting began, many American newsmen also flocked to El Paso to cover the event. Aultman was a man in the right place at the right time. He photographed the battle of Casas Grandes, the first battle of Juárez in May 1911, and the Orozco rebellion in 1912. During the early years of the revolution Aultman's studio on San Francisco Street was a gathering place for both local and out-of-town reporters and photographers, as well as soldiers of fortune. After the military part of the revolution was over, Aultman settled down to a conventional career as a commercial photographer. Aultman died from a fall in his studio in 1943. Mary A. Bibliography: Larry A.
Your Questions About Luxury Arts in the Ancient Americas, Answered In the ancient Americas, skilled craftspeople made luxurious objects for ritual and regalia from their culture’s most prized materials. Jade, rather than gold, was the most precious substance to the Olmecs and the Maya in Mesoamerica; and the Incas and their predecessors in the Andes valued feathers and textiles above all. Golden Kingdoms: Luxury and Legacy in the Ancient Americas is an exhibition that traces the development of the luxury arts from 1200 BC to the beginnings of European colonization in the sixteenth century. We recently sat down with two of the exhibition curators, Kim Richter from the Getty Research Institute (at left in the photo below) and Joanne Pillsbury from the Met (center), along with project’s research assistant Emma Turner-Trujillo (right), to answer your questions that came to us on Instagram. Questions ranging from how nose, ear, and lip ornaments were worn to the meaning of “divine excrement” are organized and answered below. What Is “Luxury?” P.S. Absolutely.
Maíz El estudio de los materiales mexicanos en su totalidad muestra una variabilidad inmensa... se halla en todo el material un gran número de formas en transición” N. N. Kuleshov, 1930 Botánico Ruso El concepto y la categoría de raza es de gran utilidad como sistema de referencia rápido para comprender la variación de maíz, para organizar el material en las colecciones de bancos de germoplasma y para su uso en el mejoramiento (McClintock 1981, Wellhausen 1988), así como para describir la diversidad a nivel de paisaje (Perales y Golicher 2011). Sin embargo, cada raza puede comprender numerosas variantes diferenciadas en formas de mazorca, color y textura de grano, adaptaciones y diversidad genética. En América Latina se han descrito cerca de 220 razas de maíz (Goodman y McK. La información deriva tanto de la bibliografía como de los resultados del proyecto global de maíces.
The Red Queen and Her Sisters: Women of Power in Golden Kingdoms Mask of the Red Queen, A.D. 672. Mexico, Chiapas, Palenque, Temple XIII. Maya. Among the many recently discovered works presented in the exhibition Golden Kingdoms: Luxury and Legacy in the Ancient Americas are the spectacular ornaments and funerary objects that reveal the newly understood prominence of women of power in the ancient Americas. The Maya site of Palenque (ancient Lakamha'), located in the foothills of the Chiapas highlands with a commanding view of the Tabasco Plain, was home to a powerful dynasty in the seventh century A.D. Lady Tz'akbu Ajaw's funerary monument, now known as Temple XIII, contained her limestone sarcophagus, the interior of which was painted with crimson cinnabar. View of Temple XIII, Palenque, Chiapas, Mexico. The sarcophagus of the Red Queen, Palenque. Left: Stela with Queen Ix Mutal Ahaw, A.D. 761. Collar, A.D. 600–660. Right: Hu'unal headdress ornament, A.D. 700–800. Nose ornament, ca. Left: Scepter, A.D. 900–1300.
Golden Kingdoms: Luxury Arts in the Ancient Americas This magnificent exhibition and its corresponding catalogue, Golden Kingdoms: Luxury Arts in the Ancient Americas, are the product of a dedicated four-year research effort that gathered scholars from Latin America and the United States. The exhibition presents approximately three hundred objects that come from fifty-seven museums in thirteen countries. In addition to the prestige of the Getty and the Met, the worldwide recognition of the conscientious scholarship of the curators Pillsbury, Potts, and Richter helped to elicit the trust of a number of international institutions. Although the name of the exhibit might suggest that all the objects are made of gold, there are some made of silver, jade, turquoise, shell, as well as feather work, textiles, and even codices. The exhibition/book follows the path of the development of gold and metallurgy in the Central Andes around 2000 BCE, continuing northward through the Northern Andes and Central America to reach Mesoamerica.
El México antiguo. Salas de Arte Prehispánico | Museo Amparo, Puebla El discurso museográfico de las Salas de Arte Prehispánico ofrece a los visitantes una introducción a la cultura y a la historia del México antiguo (1200 a.C. a 1500 d.C.), desde su geografía, organización social e historia hasta sus expresiones artísticas. En las siete salas y el centro de documentación que conforman este eje de la colección conviven piezas de diversos formatos y materiales. Su riqueza muestra la pluralidad de técnicas como cerámica, tallado en piedra, labrado en hueso, fundido en oro y otros metales, así como fragmentos de pintura mural que en conjunto nos permiten conocer algunas características de la civilización mesoamericana. Aproximadamente son 500 objetos artísticos, ceremoniales, suntuarios y funerarios provenientes del Occidente de México, la cuenca del Balsas y algunas localidades del valle de México como Tlatilco, Teotihuacán, Tula y Tenochtitlán.
Vida Americana: Mexican Muralists Remake American Art, 1925–1945 | Whitney Museum of American Art Mexico underwent a radical cultural transformation at the end of its Revolution in 1920. A new relationship between art and the public was established, giving rise to art that spoke directly to the people about social justice and national life. The model galvanized artists in the United States who were seeking to break free of European aesthetic domination to create publicly significant and accessible native art. Numerous American artists traveled to Mexico, and the leading Mexican muralists—José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros—spent extended periods of time in the United States, executing murals, paintings, and prints; exhibiting their work; and interacting with local artists. This exhibition is organized by Barbara Haskell, curator, with Marcela Guerrero, assistant curator; Sarah Humphreville, senior curatorial assistant; and Alana Hernandez, former curatorial project assistant. and Generous support is provided by The Mr. and Mrs.
Digital Resources – ALAA Links to Digital Resources and Projects, High-Resolution Image Collections for ALAA website With so many useful digital resources and projects available online, I am trying to gather as many as I can to support ALAA members. The plan is to create a “Resources” page on the ALAA website for us all to use for our research/scholarship and teaching. Currently, the resources and projects listed here are alphabetized and organized by general time period. However, if there are other categories that would be helpful and useful, please add them or change anything I’ve done. Please contact me (Lauren Kilroy-Ewbank, lauren.kilroy@pepperdine.edu or @LGKEwbank on twitter) or Jamie Ratliff (ALAA webmaster, jamie.ratliff.79@gmail.com) if you would like to add anything to this list for the ALAA website. Thank you! Digital Humanities/Digital Art History Projects Pre-Columbian Viceregal/Colonial Post-Independence/Modern/Contemporary/Chicanx Image Collections Postcolonial/Modern/Contemporary 360 panoramas Blogs