Oswaldo Guayasamín (1919 - 1999) was a very influential artist from Ecuador. His body of work consists of pieces that speak to the social and political injustices the artist perceived in the world around him. The United Nations awarded him a prize for an "entire life of work for peace." Guayasamín was heavily influenced by the Cuban Revolution and was a huge supporter of Fidel Castro. When Guayasamín died in 1999, much of Ecuador's work force went on strike and held vigils for the man who spent his life supporting the indigenous peoples of the country.
I am strongly impacted by his work, I find it to be wholly unique the cohesiveness is impressive to me. It is fascinating to sort through his work and follow his progression... I also find it interesting that he never really strayed from his decided subject matter, you don't really get that with other artists very often. I am also really stricken with the way in which he paints hands. Hands appear time and time again in his works, and they are incredibly expressive.
I find the fact that he dedicated his entire career to those who needed him to be worth mentioning, and he is still regarded as a national hero in Ecuador, as well he should be.
Sunday, May 6
Saturday, May 5
Friday, May 4
Tina Modotti
Tina Modotti (1886 - 1942) was an Italian-born photographer. She started out acting in silent films, and soon moved to America, and later to Mexico. I think one of the funniest things I have read about her is that she often said her profession was men. She was married to a producer in America, whom she left when she began an affair with photographer Edward Weston. Weston's work is more widely known than Modotti's, but she is featured in several of his most famous works. She is also a subject in five of Diego Rivera's murals and Lupe Marin blamed Modotti's affair with Rivera for their split. Enough about her personal life....
Modotti was a member of the Mexican Communist Party and was politically active for many years. She joined the party in 1927 and her work took a sharp turn toward more socially and politically minded subject matter; many of her works appeared in the leftist journal El Machete. The second photograph I have included in this post is from that same year and is anything but understated.
Rivera's mural entitled The Distribution of Arms features Modotti (at right) along with Siqueiros and Frida Kahlo handing out weapons to Mexican revolutionaries. And Kenneth Rexroth said he was terrified of Modotti, but called her "the most interesting person in Mexico City." Quite a compliment.
Modotti was a member of the Mexican Communist Party and was politically active for many years. She joined the party in 1927 and her work took a sharp turn toward more socially and politically minded subject matter; many of her works appeared in the leftist journal El Machete. The second photograph I have included in this post is from that same year and is anything but understated.
Rivera's mural entitled The Distribution of Arms features Modotti (at right) along with Siqueiros and Frida Kahlo handing out weapons to Mexican revolutionaries. And Kenneth Rexroth said he was terrified of Modotti, but called her "the most interesting person in Mexico City." Quite a compliment.
Wednesday, May 2
José Sabogal
Peruvian artist José Sabogal (1888 - 1956) was one of Peru's premier indigenistas. Sabogal was of Spanish, rather than Indian descent, but that didn't stop him from becoming one of the most active artists promoting the life and culture of the indigenous peoples of Peru.
The work at left is called "Arquitecto Quechua." This page includes a brief bio and several of Sabogals' works.
Sabogal became involved in the indigenista movement and began considering himself an indigenista after a trip to Mexico in 1922, where he saw the impact of the murals of artists like Rivera, Siqueiros, and Tamayo. As a teacher, he urged his students to ignore the European movements like Fauvism and Cubism, and to focus on the methods and techniques native to their people. Sabogal was initially rejected for the indigenist themes that he was later celebrated for, and there are still those who reject his work. People like this think his work depicts the "proud and grand Inca instead of a depiction of the actual misery within which Indians lived."
No one tries to deny the huge influence he has had on Latin American art. Or art as a whole, for that matter.
The work at left is called "Arquitecto Quechua." This page includes a brief bio and several of Sabogals' works.
Sabogal became involved in the indigenista movement and began considering himself an indigenista after a trip to Mexico in 1922, where he saw the impact of the murals of artists like Rivera, Siqueiros, and Tamayo. As a teacher, he urged his students to ignore the European movements like Fauvism and Cubism, and to focus on the methods and techniques native to their people. Sabogal was initially rejected for the indigenist themes that he was later celebrated for, and there are still those who reject his work. People like this think his work depicts the "proud and grand Inca instead of a depiction of the actual misery within which Indians lived."
No one tries to deny the huge influence he has had on Latin American art. Or art as a whole, for that matter.
Wednesday, April 25
Nicolas de Jesus
I am really into the work of Nicolas de Jesus. I was lucky enough to purchase a print of his in Mexico. Much of his work makes political statement about the US, while other is reflective or commentary on Mexican culture.
The image to the left is titled "Despierta America." Several other works in the same style are found here...
from zihua.net:
"Born December 6, 1960 in the indigenous Nahua region of Guerrero, Mexico. Nicolas de Jesus developed his art through his parents and his community. Painting on Amate (bark paper) is a local tradition in the village of Ameyaltepec where Nicolas is from. His work reflects the spectrum of his experiences from his origins in a traditional Mexican village to the problems of the Mexican migrant in the United States and his concern for preserving his cultural identity.
In an attempt to preserve his culture one theme that Nicolas de Jesus has exquisitely developed is that of Calaveras (skeletons). One of the oldest traditions in Mexico, which has indigenous roots, is the celebration of the "Day of the Dead". It is a tradition that goes back several centuries before the arrival of the Spanish conquistadors in 1519. It is a tradition found today in a few regions of Mexico that are characterized by a concentration of indigenous populations, such as the regions of the Balsas basin, which at present is Nahuatl-speaking community, here in this state of Guerrero.
The Day of the Dead is a collective manifestation, a celebration of death as an extension of life. Death motivates happiness when the deceased gets to his or her second stage of life(death), there the soul continues to live. The process of dying is considered part of a cycle (life-death) just like everything else in nature and not a lineal process as it is in the western world.
This tradition is presented through graphics and personal text by artist Nicolas de Jesus.
"The word death is not pronounced in New York, in Paris, in London, because it burns the lips. The Mexican, in contrast, is familiar with death, jokes about it , caresses it, sleeps with it,celebrates it; it is one of his favorite toys and his steadfast love. True, there is perhaps as much fear in his attitude as in the others, but at least death is not hidden away."
- OCTAVIO PAZ
The image to the left is titled "Despierta America." Several other works in the same style are found here...
from zihua.net:
"Born December 6, 1960 in the indigenous Nahua region of Guerrero, Mexico. Nicolas de Jesus developed his art through his parents and his community. Painting on Amate (bark paper) is a local tradition in the village of Ameyaltepec where Nicolas is from. His work reflects the spectrum of his experiences from his origins in a traditional Mexican village to the problems of the Mexican migrant in the United States and his concern for preserving his cultural identity.
In an attempt to preserve his culture one theme that Nicolas de Jesus has exquisitely developed is that of Calaveras (skeletons). One of the oldest traditions in Mexico, which has indigenous roots, is the celebration of the "Day of the Dead". It is a tradition that goes back several centuries before the arrival of the Spanish conquistadors in 1519. It is a tradition found today in a few regions of Mexico that are characterized by a concentration of indigenous populations, such as the regions of the Balsas basin, which at present is Nahuatl-speaking community, here in this state of Guerrero.
The Day of the Dead is a collective manifestation, a celebration of death as an extension of life. Death motivates happiness when the deceased gets to his or her second stage of life(death), there the soul continues to live. The process of dying is considered part of a cycle (life-death) just like everything else in nature and not a lineal process as it is in the western world.
This tradition is presented through graphics and personal text by artist Nicolas de Jesus.
"The word death is not pronounced in New York, in Paris, in London, because it burns the lips. The Mexican, in contrast, is familiar with death, jokes about it , caresses it, sleeps with it,celebrates it; it is one of his favorite toys and his steadfast love. True, there is perhaps as much fear in his attitude as in the others, but at least death is not hidden away."
- OCTAVIO PAZ
Thursday, April 19
Hable con Ella
Clip of Caetano Veloso singing "Cucurrucucú Paloma" from the Pedro Almodóvar film Hable con Ella. I'm not sure if he could possibly have a smoother voice... simply amazing. Also, this film won the Oscar for Best Original Screenplay in 2003, and Golden Globe for Best Foreign Film.
Also, gives you something nice to listen to while you read my blog. You're welcome.
Sunday, April 15
Subscribe to:
Posts (Atom)