Exploring bibliographic resources for Latin American art in New York City

2012 ◽  
Vol 37 (4) ◽  
pp. 36-38
Author(s):  
Amy Lucker
Keyword(s):  
New York ◽  
New York City ◽  
Latin American ◽  
York City ◽  
Fine Arts ◽  
American Art ◽  
Public Library ◽  
Latin American Art ◽  
New York Public Library ◽  
Research Division

Librarians at Columbia’s Avery Library, New York University’s Institute of Fine Arts, and the Research Division of the New York Public Library are working together to offer a two-day symposium directed towards bibliographic resources for the study of Latin American art in New York City. The symposium, Latin American art bibliography: a continuing conversation, will celebrate the collections of these three institutions, placing them within the context of the field and the larger bibliographic and library landscapes. Supported in part by the Humanities Initiative at NYU and the Institute on the Study of Latin American Art the symposium will feature papers and talks, as well as tours of local landmarks.

American Abstract Artists

2018 ◽  
Author(s):  
Herbert R. Hartel, Jr.
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
Everyday Life ◽  
York City ◽  
American Art ◽  
The United States ◽  
Social Realism ◽  
Fernand Leger

The American Abstract Artists is a formally established organization of painters, sculptors, and printmakers that has been devoted to promoting abstraction in the United States since the late-1930s. The organization was established in New York City in 1936, at a time when American art was dominated by figurative, realistic styles, such as regionalism and social realism, which favored depicting everyday life and people and national historical subjects. It held several exhibitions over the subsequent years, including a large annual exhibition each winter from 1937 to 1941. It was most influential in the late-1930s through the mid-1940s. The membership grew to more than fifty artists at this time, and its most influential, its famous members have included Burgoyne Diller, Ilya Bolotowsky, George L. K. Morris, Balcomb Greene, Albert E. Gallatin, Alexander Calder, Suzy Frelinghuysen, Fernand Léger, Piet Mondrian, Josef Albers, Jean Hélion, Carl Holty, Ad Rinehardt, Gertrude Greene, Stuart Davis, Charles Shaw, Vaclav Vytlacil, Jean Xceron, and David Smith. The American Abstract Artists group is often thought to have advocated a rather homogenous abstract style that was geometric, linear, and planar, but this is a broad oversimplification of the diversity of its membership.

Mahopac, New York

2017 ◽  
Author(s):  
Ethelene Whitmire
Keyword(s):  
New York ◽  
New York City ◽  
Public Library ◽  
The United States ◽  
National Council ◽  
Urban League ◽  
Colored People ◽  
New York Public Library ◽  
Washington Heights ◽  
Social Engagements

This chapter describes Regina's active retirement years and examines her legacy. Regina lived for nearly a decade as a widow until February 5, 1993, when she died at the age of ninety-one in the Bethel Nursing Home. Regina's death was reported in the New York Amsterdam News—the newspaper that had covered her social engagements, creative pursuits, wedding, and professional accomplishments. Regina's last will was a testimony to her strong commitment to various organizations. Regina left several thousand dollars to various organizations located in New York City, including two thousand dollars to the National Urban League and an equal amount to the National Association for the Advancement of Colored People; one thousand dollars to National Council of Women of the United States, two thousand dollars to the American Council for Nationalities Services, and one thousand to the Washington Heights Branch of the New York Public Library.

From American Ethnographer to Cold War Icon: Charles Ives through the Eyes of Henry and Sidney Cowell

2006 ◽  
Vol 59 (2) ◽  
pp. 399-457 ◽  
Author(s):  
DAVID C. PAUL
Keyword(s):  
New York ◽  
Cold War ◽  
Performing Arts ◽  
American Art ◽  
Public Library ◽  
Art Music ◽  
Charles Ives ◽  
New York Public Library ◽  
Henry Cowell ◽  
The Cold War

Abstract Scholars have recognized that Henry Cowell was one of the most ardent promoters of Charles Ives, but the fact that Cowell's conception of Ives shifted over time has been overlooked. During the late twenties, Cowell portrayed Ives as a fundamentally social artist with the sensibilities of a musical ethnographer. By the fifties, in the writings Cowell coauthored with his wife Sidney, Ives came to be depicted as a paragon for the liberating power of individualism. Close scrutiny of Cowell's published writings, along with letters and manuscripts from the Henry Cowell Collection of the Music Division at the New York Public Library for the Performing Arts, reveals the factors that influenced this transition. Béla Bartók's theories about folk music authenticity were the impetus behind Cowell's earliest conception of Ives. Cowell maintained that Ives had created a definitively American art music by transcribing the performance idiosyncrasies of American folk musicians. The anxieties of the Cold War and a writing partnership with his wife caused Cowell to stress Ives's commitment to the individualism espoused by transcendentalist philosophers. The Cowells no longer equated Ives's Americanness with his ability to transcribe local practice, but instead with his solitary pursuit of the “Universal Mind.”

scholarly journals The Manual Industries of Peru: indigenismo, trabajo manual y tutelaje artístico entre Lima y el Museo de Arte Moderno de Nueva York (1942-1948)

2020 ◽  
pp. 68-83
Author(s):  
Horacio Ramos
Keyword(s):  
New York ◽  
Latin American ◽  
Modern Art ◽  
American Art ◽  
Museum Of Modern Art ◽  
Latin American Art ◽  
Popular Arts ◽  
The U.S ◽  
Sobre Todo ◽  
Applied Arts

En la década de los cuarenta y con el auspicio del Museo de Arte Moderno de Nueva York (MoMA), el artista estadounidense Truman Bailey dirigió una escuela-taller en Lima, en la que empleó y entrenó a cerca de 80 trabajadores, para producir artículos de lujo inspirados en artes populares andinas. En este ensayo sostengo que el taller constituyó no solo un proyecto indigenista de preservación de tradiciones indígenas, como afirmaron sus organizadores, Bailey y el influyente curador René d’Harnoncourt. Considero que el taller fue, además, y sobre todo, un espacio para la formación de trabajadores a partir del entrenamiento en diseño modernista y en modos de producción y comercialización del capitalismo industrial estadounidense.Palabras clave: arte latinoamericano, indigenismo, modernismo, René d’Harnoncourt, Truman Bailey, arte popular, artes aplicadas AbstractIn the forties and with the sponsorship of the Museum of Modern Art of New York (MoMA), the U.S artist Truman Bailey directed a school-workshop in Lima where he employed and trained nearly 80 workers to produce luxury items inspired by Andean popular arts. In this essay, the author argues that the workshop was not only an indigenous project to preserve indigenista traditions as its organizers, Bailey and influential curator René d’Harnoncourt, claimed. The author considers that the workshop was also and above all, a space for workers’ formation through training in modernist design and modes of production and commercialization of U.S industrial capitalism.Keywords: Latin American art, indigenismo, modernism, René d’Harnoncourt, Truman Bailey, arte popular, applied arts

Different Paths: Gender, Immigration and Political Participation

1998 ◽  
Vol 32 (2) ◽  
pp. 326-349 ◽  
Author(s):  
Michael Jones-Correa
Keyword(s):  
New York ◽  
New York City ◽  
Political Participation ◽  
Latin American ◽  
York City ◽  
Political Socialization ◽  
Latino Men ◽  
Immigration Studies ◽  
Latin American Immigrants ◽  
And Behavior

Building on arguments made by Grasmuck and Pessar (1991), Hardy-Fanta (1993), and Hondagneu-Sotelo (1994), among others, this article makes the case for a gendered understanding of immigrant political socialization. Looking at recent Latin American immigrants to New York City, the article argues that immigrant Latino men are more likely to favor continuity in patterns of socialization and organization, and immigrant Latinas are more likely to favor change. This finding helps bridge theoretical and empirical literatures in immigration studies, applying the logic of gender-differentiated decisionmaking to the area of immigrant political socialization and behavior.

Carlos Chávez

2021 ◽  
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
Mexico City ◽  
York City ◽  
Fine Arts ◽  
Musical Identity ◽  
Piano Works ◽  
Mexican Art ◽  
Art Exhibit

Carlos Antonio de Padua Chávez y Ramírez (b. 1899–d. 1978) was one of Mexico’s leading composers, conductors, administrators, and musical educators during the 20th century. Born in Popotla, a suburb near Mexico City, on 13 June 1899, Chávez’s began his musical career with piano lessons, studying initially with Manuel M. Ponce. Then, at the age of sixteen, he became a music teacher during the changing social and political landscape of the Mexican Revolution (1910–1920). After successful publications of some of his short piano works, he soon received a commission from the Secretary of Public Education (SEP), José Vasconcleos, to compose a ballet. For this charge, Chávez chose an Aztec legend, labeling his work El fuego nuevo. Unfortunately, this work was never performed in Mexico, which led Chávez to seek other opportunities, first in Europe, then in New York City. Chávez’s collaborations with modernist composers and artists in New York City proved to be transformative for the composer, leading to a wave of compositions that reflected the modernist currents of the time. Upon returning to Mexico City, Chávez took on new roles, including the director of Orquesta Sinfónica Mexicana (later called the Orquesta Sinfónica de México), and then an appointment as the director of the Conservatorio Nacional, where he provided robust changes to the curriculum. In 1933, Chávez served as the chief of the Department of Fine Arts for the SEP and later collaborated with Paul Strand on his film project Redes (1935). His varying positions in Mexican institutions and his search for a Mexican musical identity initiated a wave of nationalism that can be heard in his works H.P. (1932) and Sinfonía India (1935) and his participation in the Twenty Centuries of Mexican Art Exhibit at the Museum of Modern Art in New York City. Later works reflected an approach to universalism and cosmopolitanism, such as the Concerto for Piano and Orchestra (1938). During the 1940s, Chávez became the director of the Instituto Nacional de Bellas Artes (INBA), which oversaw several national artistic projects in Mexico. After resigning from INBA, Chávez returned to composition and taught courses at the Conservatorio Nacional. Chávez’s musical career was eclectic and diverse, spanning several important areas of Mexican musical and artistic culture. He rose to become one of the most recognized musicians in Mexico during the 20th century.

scholarly journals From the Memory Books of Josely Carvalho

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 109
Author(s):  
Erina Duganne
Keyword(s):  
New York ◽  
New York City ◽  
Central America ◽  
Latin American ◽  
York City ◽  
Arts Organizations ◽  
Art Making ◽  
American Artist ◽  
Multi Media

In this interview, Brazilian-born multi-media artist Josely Carvalho (b. 1942) reflects back on her art making practice in the 1980s. Among the subjects that she addresses are her bi-nationalism, her use of the silkscreen process, and her association with the 1984 activist campaign Artists Call Against U.S. Intervention in Central America. She also speaks about working as a Latin American artist in New York City during this period, as well as her involvement with galleries and arts organizations such as St. Mark’s Church-in-the-Bowery, Central Hall Cooperative Gallery, and Franklin Furnace.

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