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Art history students having to read non-art history books

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Mexican Art bibliography just keeps growing...

and I’m like…

ARH 423 April 21

ARH 423-Amanda Zucker April, 21st

Preliminary Power Points:

Feed Back:

Francisco- good use of color (black and red type face)

Looking at this space and then looking at the larger mural, and why did the ‘cropping’ occurred

Iconography- concretely defines as how I will be using that term in my project.

What do you mean by negative space? Maybe pulling from Folgaright’s article and argument of ‘negative space’ Make sure you actively incorporate ideas discussed in the articles.

Talks about scale, space- is specific. Include such things in terminology

Rethinkg the title!

Presentation 1:

My Presentation!

Presentation 2:

Zapata by Rivera, 1931

Why lithography?

-Cheep, mass production

Why 1932?

-Artist growth, audience interest

Why this composition?

-Relatable to a current events, Contains meaning

What is the symbolism?

-Equestrian horse, clothing, tools

Four images:

Lithograph, Mural, Mural, Photograph

Presentation 3:

Niko, “I am Zapata and Siqueiros is my name”

1.Does Siqueiros see him self as Zapata?

-Makes several Zapata images at this time

2.Does S, equate Revolutionary leaders with labor leaders?

3.What is the connection with Zapata and the landscape?

4. Does S. see the return to art as a revolutionary act?

Four Images:

Painting, 1930, Zapata and Lombardo Toledano

Zapata, 1931, painting

Zapata on Horseback, c.1915, photograph

Siqueiros Self Portrait, 1931,print

Presentation 4:

The woman of Mujeres

Question:

Who are they

How are they depicted?

How are they related to the Mural?

Images:

Catharsis, Mural, 1934

-Shows struggle of woman. Maybe related to the print. Struggle in-between classes

The Bedroom, watercolor, 1910

-Women in a brothel, infected with a venereal disease, related to the previous mural- maybe premature ageing due to the same disease.

The Rape, Charcoal, 1926-28

-Lower class vs. upper class, stabbing in the back, to the lithograph there is conflict that is needed to be more discovered.

The Rich Banquet while the Workers Flight, fresco, 1923

-Still unsure, will do more research…

Presentation 5:

Mujeres Jose Clemente, Orozco, 1935-Lithograph

Mujeres: the Allegory, the Women and the Artist.

Who are the women in this print?

How does Orozco represent the women?

Why Lithography?

How does he utilize the space in this work?

Images:

Catharsis, Orozoco, 1934,

La Violacian,…

and I’m like…

An exhibition of prints at the British Museum reflects the social and political upheavals that gripped Mexico over the past century. Rating: * * * *

Rivera on Paper! The 3rd Zapata Image in a Lithograph

Lithograph 1932 (print)

3. Emiliano Zapata and his horse, Diego Rivera, 1932

In a lithograph made by Rivera in 1932 and based on a detail from one of his murals, for example, the revolutionary leader Emiliano Zapata looks every inch the picturesque banditto

MoMA Comission, 1930-31

Agrarian Leader Zapata

Date:1931

Medium:Fresco on reinforced cement in galvanized-steel framework

Dimensions: 7' 9 3/4" x 6' 2" (238.1 x 188 cm)

Origional Door Fresco

Diego Rivera. The History of Cuernavaca and Morelos - The Convertion of the Indian. Detail. 1929-30. Fresco. Cortez Palace, Cuernavaca, Mexico.

Zapata, Diego Rivera, 1921

Zapata’s Horse. 1930. Fresco. Palace of Cortez, Cuernavaca, Mexico. http://livelearnloveleave.com/design/diego-riveratop-20-paintings-and-murals/#sthash.dIMu1tap.dpuf

Rivera Research, three Images Discovered

1. 1930 Origional Doorway Freco

2. 1930-31MoMA Comission

3.1932 Print (Lithography)

BLOG Field Notes 4/14/14

Museum Day Diego Rivera: 4/14/14

Images:

Rivera- Mexican History, 1929-35

Julio Castellanos, Blanket Tosjos

Rivera, FlowerDay, 1925

Marian Greenwood, Industrianzation of the Country side, 1934

Orizocos, Carthouse, 1934

Rivera, Arsenal

Rivera, The Flower Seller,

Rivera, Sugar Cane, and The Sugar Plantation

Entering The Mine,1925, Fresco

The History of Mexico, 1929-30 freco

The Rural School Teacher,

The Fower Vender.

David Siqueuros, Zapata Lithograph, 1931

Walter

What picture of the revolution is this?

What is the discussion of his politics, especially since he changes his minds so many times?

How is his art manifesting socialist beliefs?

Make sure the print comes back to the conversation. Do let it get lost!

Reverences the Getty Database. Make sure you declare exactly what it is you are researching.

HOW do these images relate! Simple things will tell you a whole lot.

FOUNDATIONAL IDEA are SO important. Find the simple, and ask the BIG Questions.

Find ONE image that is the same subject that is by the same artist, for Wednesday!

Blog Research April 8th

Big Questions: How does the Context of the print reflect it's chronology? -It shows a moment durning the Mexican Revolution, a moment and subject which has been captured two times prior by Rivera in slightly different ways. Rephrased:What is the Iconographic Context of this image? -The context of this image is the Mexican revolution, a period which we can easily identify by clues included by Rivera, these include the clothing style that the Mexican solidigers were wearing, the type of weapon that is being heal(which directly relates to the socialist movement) as well as the style in which all of these are painted. What are the factors that influenced the development of Rivera's 1932 lithograph creation. Compositional Arrangement: 1921- Original Doorway Painting 1930-31- MoMA Commission Painting 1932- Print Created (Lithograph)

brandon-3-deactivated20220704

thwhitewolff

WAY TO GO ALLSTATE

mattnathanson

this is the way it should be done!

flyartproductions

Luncheon of the Super Rich Kids

Pierre-Auguste Renoir, Luncheon of the Boating Party (1881) / Super Rich Kids, Frank Ocean

whatshouldwecallgradschool

AFTER SPENDING FIVE HOURS WORKING ON EXCEL

credit: Nerdbert

In Class Notes on Print and Photo Critical Readings 3/3/14

In class Notes: Monday, March 3rd, 2014 Looking at and unpacking John Mraz's Artical (1st chapter in Looking for Mexico) Photography-Photojournalism and the development of this medium in mexico as it shaped national identiy. Categories as seen of effected to photographs: Big Umbrella idea: Modern visual culture and National Idenity Portraits Types (Mexican Types) War-Mexican American war- the amount of land that Mexico lost in this war- all of which was heavily documented by photography, which compeated heavily lithophy( another form of Image making during the 19th. cent., both of which were credicable forms of mexican progress) Visually:If you were to draw a diagram, it would be a time line, beginning in Timeline: 1840------------------------------------------------------------------- 1910 The degaurtype:Photo tech. Political end of the mexican dictatorship and the begins of the Mexican revolution The impact of this perticularer medium has on bringing into focus ideas of national identity, the impact of this technology, a fundamental point in his essay is the importance of this new mechanically reproduced forms. Talks about the details of photographs- same as you structrture a painting, how you take a photograph, cropping, and planing, and in the studio and out of the studio. Big geographical Space- "The geography of photography" the importance of the train as a means of getting from place to place Costumbrismo- the genre of literature and visual images that emphasize a social diversity and extreme class difference. An example of this can be found on page30. While an extreme example, they present the more indigenous or primative people of lower class Mexico- this crashes into Lithophy- this is an impactful event- how these two figures are compared to in a colorful lithograph of neat and clean people- the shape of the lithography is the shape of a camera- social type that is manufactured. Interactions: -This picture, Charnay, Birdsellers,Mexico City, ca.1858 (page 30, of John Mraz's Artical) in relation to porfian progress, -The rail road and profian progressing -Profian progressing in relation to folklorism(?) -The non idealized figure in relation to the progress that porfian wanted to portray" -there was a form of censorship, Diaz wanted to white wash Mexican poverty away- "the poor are always with you" Looking at and unpacking Lenard Folgarait's Artical in "Seeing Mexico Photographed" looks at only 2 images, constructs a very formal analysis of both, compairing imagery and fact(?). this artical way very analytcal and artistic Thesis: how his style- what his style is saying about nations hood- missing a beld, face not scene, how a photo is always telling us the truth- very factual (facticity) the noticican of evidence- and how a phot can play with the factificy that evidence is intrinsicly associated with. Themes the sentence at the bottom of page 10, "...employ themes of social mass, mostly in terms of masses of people engaged in a revolution as a subject of the photographs, but also more abstract ways related to notions of time and the disribution and circulaton of photographs." Explains themes: he is telling you his themes-social mass, revolution,time ( serch for these words in the article, see and FIND where he uses and further unppacts these thems in his article) For example: On page 12- on the idea of time- the slice of it, approaching the idea of time in a narrative sense. the idea of composistion- how he puts the photograph on a grid- as a way to instal value to disolve the "pointlessness" of this man's death. By placing the man's death, his body, this event on a grid, (which is of courese is relatable to high art in the renassiance, the triangel of visual perspective etc.) he is elevating this photojounistic snapshot towards some thing relatabel or comparabel to high art. this related to the three main "big boys" because they inverted this in their murals- while there murals looked alot like photographs- in more ways than one- they cut an pasted images like photoshop can today- and that is a sort of michanicalism that is brought forth- additonally the subjects of their murals prepersent those 'mexican types" On page 19 The way the objects and or the subject of the photo contribute to that position, that the dead man could not.The people in the Photograph (Agustin Victor Casasola, Untitled,c. 1915) on page All about the different means of looking at the mexican revolution

Class Notes 2/26

ARH 423

Talking about the 2 mural articals:

Use active Verbs:

Strong language: (active verbs) in describing what the writer is doing, she does, he enacts, she outlines, he frames, she delivers, use the word exemplify! You have to use something to stand in for the complexities of the image.

The Shape of the Argument; the Architecture of the argument:

a)Chronological (e.g. from the 1920’s to the 1940’s)

b)biographical

c)Spatial (in a particular context- a building)

d)Stylistic (does the other define style, give a sense pf ots importance and meaning?)

3. the what and the how, - the story the author says he/she will tell and how they tell it.

4. Images, what and how, the content of the style

5. what images are used to anchor the argument(for what example:open it and close it)

6. concepts and terms used e.g. via what negatibe print or deep mexico

7. look at the vocabrulary generally, for example what terms were used to describe the or change the conflict.

part two:

what is in in it for me and my print? How is the reading relevant to you print?

Part three: What is the picture of the Revolution? How is the revolution conceived?

1)any definition?

2) Any Image

The what and the how- in relation to each other on that floor

Notes from Monday February 24th, ARH 423

Anreus, Alejandro. "Los Tres Grandes: Idelogical and Style." Mexican Moralism: A Critical History.Ed. Alejadro Anreus, Leonard Folgarait and Robin Adele Greenley. N.p.:n.p.,n.d. 37-44. Print.

What type of source is this? a primary or secondary source: Secondary

Context: table of contents, in a book? In journal? Exhibition catalogue?The title of the second section of the mexican muralism book is "Los Tres Grandes" which is a essay with in the section of this book's text.

Title, abstract, subheadings, images, highlighted vocabularySubheading: Ideologies and StylesVocabulary that was repeated was: Via Negativia

III: Introduction/thesis and conclusionBecause of the Mexican Revolution, Mexican muralisam experiences a rebirths in such a way that the medium represents the actions and scenes of the revolution. in this essay, this is suggested as well as deeply analysis the artist who were producing a large amount of muralist out put at this time. Not only are the three main Mexican artists of the day identified, but the style and form of their work was analyzed as well.

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