tag:blogger.com,1999:blog-53340437449150769102024-03-18T12:47:48.271-07:00Literal, Latin American VoicesThe Blog of Literal Magazinerose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.comBlogger129125tag:blogger.com,1999:blog-5334043744915076910.post-6797260557328556252013-08-09T08:31:00.001-07:002013-08-09T08:31:23.641-07:00A Short Poetic Anthology
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwBGVcrqKmPsn2vj_ZQGXO4MwoR8mOtCnb2GI4IAYnfGptXTW6AGS3FtVI5W-VjrmnzqwX3O9UPGNv1lmgCWjaeSl3XF9lXqR9_9B10DqjIee0DiXY0foh5Kdn7Q2kkoVWupVAT9_lUwY/s1600/luis_benitez.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwBGVcrqKmPsn2vj_ZQGXO4MwoR8mOtCnb2GI4IAYnfGptXTW6AGS3FtVI5W-VjrmnzqwX3O9UPGNv1lmgCWjaeSl3XF9lXqR9_9B10DqjIee0DiXY0foh5Kdn7Q2kkoVWupVAT9_lUwY/s320/luis_benitez.jpg" width="317" /></a></div>
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<span style="font-size: 16.0pt;"><b>By Neil Leadbeater<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="font-size: large;"><b><br /></b></span></div>
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<span style="font-size: 12.0pt;"><b>Author: Luis Ben<span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";"><span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";">Ì</span></span>tez<o:p></o:p></b></span></div>
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<span style="font-size: 12.0pt;"><b>Translated by Elizabeth
Auster with versions by Beatriz Olga Allocati<o:p></o:p></b></span></div>
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<span style="font-size: 12.0pt;"><b>Publisher: Littoral Press,
Suffolk, England.<o:p></o:p></b></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><b>Trade Paperback £9.99,
July 2013<o:p></o:p></b></span></div>
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<span style="font-size: 12.0pt;"><b>ISBN: 978-0-9558937-8-0<o:p></o:p></b></span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-size: 12.0pt;">Luis
Ben<span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";"><span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";">Ì</span></span>tez
is a poet, essayist and novelist living in Argentina. He is a member of the
Iberoamerican Academy of Poetry, New York, USA, the International Society of
Writers, USA, the World Poets Society, Greece, and the Advisory Board of Poets
Press, India. His work has brought him international recognition and he has
been the recipient of many prestigious awards including the La Porte des Po<span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";"><span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";">È</span></span>tes
International Award (Paris, 1991), the Primo Premio Tusculorum di Poesia
(Italy, 1996) and the International Award for Published Work </span><span lang="EN-GB" style="font-size: 12.0pt; mso-ansi-language: EN-GB;">“</span><span style="font-size: 12.0pt;">Macedonio Palomino</span><span lang="EN-GB" style="font-size: 12.0pt; mso-ansi-language: EN-GB;">”</span><span style="font-size: 12.0pt;">, (Mexico, 2008). He is the author of some 36 books
(poetry, essays and narrative) published in Argentina, Chile, Italy, Mexico,
Romania, Spain, Sweden, USA, Venezuela and Uruguay.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt;">Over
the years, many of his poems have appeared in small press magazines and
journals in the USA and the UK but this is the first time that a selection of
his work,<span style="mso-spacerun: yes;"> </span>(46 poems taken from
nine separate books), has been published in the United Kingdom. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt;">Ben<span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";"><span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";">Ì</span></span>tez
belongs to the so-called Argentinian generation of 1980, the generation that
meant in part to disassociate itself from the immediate influences of writers
such as Pablo Neruda and C<span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";"><span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";">È</span></span>sar Vallejo in order to search out new
possibilities including influences from outwith their native countries. In the
case of Ben<span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";"><span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";">Ì</span></span>tez,
whose poetry may be said to be truly cosmopolitan, it was a question of carving
out a new identity variously composed of many different facets. His poetry is rooted
in European literature, classical mythology, history, philosophy and geography.
His unique handling of this material is what makes him such an original voice.
In particular, the persona of the author is never to the fore, it is as if the
poet takes a back seat and lets his universal themes take centre stage. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt;">In<i>
This Morning I Wrote Two Poems </i></span><span style="font-size: 12.0pt;">Benitez
concerns himself with the craft of writing - where does the Muse come from and
why is it<span style="mso-spacerun: yes;"> </span>that<span style="mso-spacerun: yes;"> </span>the finished object is more than the
sum of its component parts? Always modest about his own achievements and wise
enough to know that the perfect poem is in all probability an impossible thing
(but worth pursuing), he wonders<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt;"><i>About
the men who have said it better<o:p></o:p></i></span></div>
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<span style="font-size: 12.0pt;"><i>and
are now dead<o:p></o:p></i></span></div>
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<br /></div>
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<span style="font-size: 12.0pt;">The
poem hints at the length of time that it can take for a work of art to come to
full maturity, and how, at the last, it can have a transformational effect
which can be out of all proportion to its existence on the page.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt;">Several
writers are celebrated in this volume. There are poems addressed to Vallejo,
Pound, Lao-Tse, Keats, Schwob and Rimbaud. The title of his poem <i>To Deprive
Death of It</i></span><span lang="EN-GB" style="font-size: 12.0pt; mso-ansi-language: EN-GB;"><i>’</i></span><span style="font-size: 12.0pt;"><i>s Arrogance</i></span><span style="font-size: 12.0pt;"> carries an echo of Dylan Thomas</span><span lang="EN-GB" style="font-size: 12.0pt; mso-ansi-language: EN-GB;">’</span><span style="font-size: 12.0pt;">s poem <i>And Death Shall Have No Dominion. </i></span><span style="font-size: 12.0pt;">The reference is no accident. Dylan Thomas was, and
continues to be, a great influence on Ben<span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";"><span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";">Ì</span></span>tez. Benitez has said
of him, </span><span lang="EN-GB" style="font-size: 12.0pt; mso-ansi-language: EN-GB;">“</span><span style="font-size: 12.0pt;">he was my master</span><span lang="EN-GB" style="font-size: 12.0pt; mso-ansi-language: EN-GB;">”</span><span style="font-size: 12.0pt;">. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt;">In
<i>Kustendj<span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";"><span style="mso-char-type: symbol; mso-symbol-font-family: "Times New Roman";">È</span></span>,
By The Black Sea</i></span><span style="font-size: 12.0pt;"> the whole poem,
which is a meditation on change, revolves around the central figure of another
writer from the past, this time Ovid, and his work <i>Metamorphoses. </i></span><span style="font-size: 12.0pt;">The reference is to the time when the Roman Emperor
Augustus banished Ovid from his native Rome to a period of exile in Constanza.
Again, as with so many of the poems in this collection, there are several
layers of meaning working their way into the reader</span><span lang="EN-GB" style="font-size: 12.0pt; mso-ansi-language: EN-GB;">’</span><span style="font-size: 12.0pt;">s conscience at the same time. In this case it is the
skilful interplay between past and present: the ever-changing events of
history.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt;">For
me, it is the poem <i>The</i></span><span style="font-size: 12.0pt;"> <i>Astonishing
Lives</i></span><span style="font-size: 12.0pt;"> that provides the key to the
whole collection. These are the men and women who have travelled <i>the huge
country of distance</i></span><span style="font-size: 12.0pt;"> to show us <i>their
many-coloured fabrics, their words</i></span><span style="font-size: 12.0pt;"> -
they are the quiet influences from the past that people our creative spirit and
are the source of this poet’s own original work.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt;">Translation
is never an easy task, especially in relation to poetry.<span style="mso-spacerun: yes;"> </span>Unfortunately, the translation in this
book is at times uneven and in need of some fine-tuning in order to enable the
reader to gain a proper comprehension of the text but this should not detract
from the opportunity that this publication brings to enable speakers of English
to gain an appreciation of a selection of very fine poems that would not
otherwise be available in the United Kingdom.<o:p></o:p></span></div>
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<!--EndFragment-->rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-82270166086357755042013-07-29T18:52:00.000-07:002013-07-29T18:52:05.273-07:00La suerte de Daniel Burman<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRQlCioYH55U8EsGy2FfBUiRxoddQjzKv0xBNWnuoU_WsHI7aawu0nJmwlLp1Z3pdUNu3hLLxjVeKYVwoqEGKDNqQRoGtsUnJfwnNf2PKu6gs6vzkvC9_wj47tVvBrn6ijUhSIam0SrM/s1600/la+suerte.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRQlCioYH55U8EsGy2FfBUiRxoddQjzKv0xBNWnuoU_WsHI7aawu0nJmwlLp1Z3pdUNu3hLLxjVeKYVwoqEGKDNqQRoGtsUnJfwnNf2PKu6gs6vzkvC9_wj47tVvBrn6ijUhSIam0SrM/s400/la+suerte.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>Por Lucía Camargo Rojas</b></div>
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<b><br /></b></div>
<div style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 18px; margin-bottom: 9px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: justify;">
En <em style="font-style: italic;">La suerte en tus manos</em> (2012), la última película del argentino Daniel Burman, Jorge Drexler representa de forma apropiada a Uriel, un hombre de 40 años, separado y con dos hijos que desea hacerse una vasectomía para eliminar la posibilidad de tener más descendientes. El mismo día de la operación se encuentra sorpresivamente con Gloria (Valeria Bertuccelli), una antigua novia universitaria que lo dejó porque él nunca hizo pública su relación. Las escenas mejor logradas del octavo largometraje de Burman se desarrollan en el consultorio del urólogo Weiss (Luis Brandoni), en donde Uriel habla sin pausa sobre sus relaciones con las mujeres, haciendo una clara parodia a lo que puede ser una consulta psicológica. Incluso, varias de las líneas de Brandoni son las que pretenden ser las pistas que den sentido a la historia (“La clave del éxito no es saber qué se hace bien sino qué es lo que uno hace mal”). Drexler se destaca por su naturalidad, al punto de que uno se olvida totalmente de su rol como músico, compositor y cantante, y en cambio lo percibe como un perfecto representante de un hombre maduro y algo perdido, capaz de añadir un toque de humor sarcástico a esta comedia romántica. Sin embargo, la película desencanta por la falta de conflicto. Gloria y Uriel vuelven a ser pareja fácilmente y la mentira en la que se basa su reencuentro (Uriel le dice a Gloria que él es quien traerá de regreso al aclamado grupo la Trova rosarina) no alcanza a suscitar mayores obstáculos entre la pareja, haciendo que aunque la película se deje ver y sea amena, no sea precisamente la obra maestra de Burman. Daniel Burman es reconocido por ser un representante de la nueva ola del cine argentino. A pesar de que su largometraje <em style="font-style: italic;">El abrazo partido</em> (2004) ha sido aclamado por la crítica y se le reconozca por películas como <em style="font-style: italic;">Esperando al mesías</em> (2000) y <em style="font-style: italic;">El nido vacío</em> (2008), sus más recientes obras carecen de la fuerza de las primeras. En particular, <em style="font-style: italic;">La suerte en tus manos</em> pareciera desaprovechar su reparto y el potencial de la historia. La magnífica Norma Aleandro representa fugazmente a Susan, la madre de Gloria. Pero aunque la reconocida actriz interpreta un par de líneas interesantes, particularmente cuando habla de su relación con su ex esposo, es una pena que su actuación pareciera desconectada del hilo conductor, cuando podría ser clave para entender la vida amorosa de Susan. Incluso la idea de que la suerte la construye uno mismo es interesante, pero tampoco se explota lo suficiente en los juegos de póker de Uriel ni en la película en general. Al final uno siente que el protagonista podría o no haber construido su futuro y aunque Burman intenta crear un momento epifánico en el que Uriel toma las riendas de su vida, la escena resulta algo llana y sin vida. Definitivamente <em style="font-style: italic;">La suerte en tus manos</em> no es la película para conocer el trabajo de Burman pero sí para ver el debut de Drexler.</div>
</div>
rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-37559196858031558942013-06-05T14:46:00.001-07:002013-06-05T14:47:07.083-07:00James Turrell in Houston<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/67600428?portrait=0" webkitallowfullscreen="" width="500"></iframe> <br />
<a href="http://vimeo.com/67600428">James Turrell: The Light Inside</a> from <a href="http://vimeo.com/mfahouston">Museum of Fine Arts, Houston</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
<br />
<div style="text-align: justify;">
<em style="-webkit-text-stroke-width: 0px; background-color: white; color: black; font-family: Arial; font-size: 13px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">James Turrell: The Light Inside</em><span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Arial; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> explores the remarkable career of James Turrell (born 1943). Raised in a Quaker household and coming of age in the radical climate of the 1960s, Turrell has created some of the most beautiful art of our time, treating light as a material presence in perfectly calculated installations. Viewers are invited to investigate the margins of perception, to measure the passage of time, and—in the artist’s words—“to enter the light.”</span></div>
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<span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Arial; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> </span><span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Arial; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">This exhibition features seven immersive light environments, ranging from Turrell’s first projections of the late 1960s to his most recent </span><em style="-webkit-text-stroke-width: 0px; background-color: white; color: black; font-family: Arial; font-size: 13px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">Tall Glass </em><span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Arial; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">series of 2010–13, as well as three print portfolios and site plans relating to Roden Crater. All are from the collection of the MFAH, and most are being created for the first time for this exhibition. Also on view is </span><a href="http://www.mfah.org/art/100-highlights/light-inside-turrell/" style="-webkit-text-stroke-width: 0px; background-color: white; color: #f15836; font-family: Arial; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" target="_blank"><em>The Light Inside</em></a><span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Arial; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">, the Museum’s beloved light tunnel, commissioned by Isabel B. and Wallace S. Wilson to connect the Caroline Wiess Law Building with the Audrey Jones Beck Building.</span></div>
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<span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Arial; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><br /></span></div>
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<br /></div>
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<span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Arial; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><strong style="-webkit-text-stroke-width: 0px; color: black; font-family: Verdana, Geneva, Arial, Helvetica, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: bold; letter-spacing: normal; line-height: normal; margin: 0px; orphans: auto; padding: 0px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">About the artist</strong></span></div>
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<span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-style: normal; font-variant: normal; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: Verdana, Geneva, Arial, Helvetica, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Born in Los Angeles in 1943 to a Quaker mother and a father who was a school administrator, James Turrell attended Pomona College, where his studies concentrated on psychology and mathematics. He later received a master's degree in Art from Claremont Graduate School. Turrell’s work has been widely acclaimed and exhibited since his first showing at the Pasadena Art Museum in 1967, which established him as a leader in the nascent Light and Space Movement in Southern California. His work has since been presented at major venues including the Stedelijk Museum, Amsterdam (1976); the Whitney Museum of American Art, New York (1980); the Israel Museum (1982); the Museum of Contemporary Art, Los Angeles (1984); MAK, Vienna (1998–99); the Mattress Factory, Pittsburgh (2002–03); and the Kunstmuseum Wolfsburg, Germany (2009–10); and was included in the 54th Venice Biennale (2011). In addition to the exhibitions at the Solomon R. Guggenheim Museum, New York, the Museum of Fine Arts, Houston, and the Los Angeles County Museum of Art in summer 2013, Turrell’s art is on view in a solo exhibition at the Academy Art Museum, Easton, Maryland. The artist’s work is represented in numerous public collections including the Tate Modern, London; the Los Angeles County Museum of Art; the Museum of Fine Arts, Houston; the Solomon R. Guggenheim Museum, New York; and the Israel Museum, Jerusalem. Turrell has created more than seventy Skyspaces in the Americas, Europe, and Asia, with the first made in 1974 for Count Giuseppe Panza di Biumo at his home in Varese, Italy.</span></span></div>
rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-5552318650313917562013-05-12T16:25:00.001-07:002013-05-12T16:25:36.060-07:00Entrevista a Juan RulfoEn 1977 Juan Rulfo habló con Joaquín Soler Serrano para Televisión española. Compartimos esta conversación con nuestros lectores:
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/V74yJztkx-c" width="420"></iframe>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-91705780386980135672013-04-11T14:05:00.000-07:002013-04-11T17:54:05.707-07:00I Concurso Literario de la Revista Literal de Novela Corta * Cuento * Poesia * Ensayo<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi69jPY9Ha2_Pp34KJnm9TIF8UE8WYTFv7xa9Z_P22zj_RjLnM-wEExOrDH20znopKAAbzrPxEw-WmuBJPegNZ8AQeIETWks-q0SpAa9ch-fM1FTX5g9LFQ6HH4HrtFbH9iCg6-mMie_qA/s1600/la_foto.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi69jPY9Ha2_Pp34KJnm9TIF8UE8WYTFv7xa9Z_P22zj_RjLnM-wEExOrDH20znopKAAbzrPxEw-WmuBJPegNZ8AQeIETWks-q0SpAa9ch-fM1FTX5g9LFQ6HH4HrtFbH9iCg6-mMie_qA/s400/la_foto.JPG" width="400" /></a></div>
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Estimados Participantes, el servidor de nuestra página tuvo problemas entre la noche del 10 de abril, hasta la tarde del 11 de abril. Eso provocó que nuestra página web desapareciera por momentos. sin embargo, el servicio ya ha quedado restablecido.<br />
Pueden<b> mandar sus trabajos para el concurso a las siguientes direcciones:</b></div>
<b><a href="http://www.blogger.com/goog_792629841"><br /></a></b>
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<div style="text-align: center;">
<br />
<a href="mailto:info@literalmagazine.com"><b><b>info</b></b><b>@literalmagazine.com</b></a><br />
<b><a href="mailto:premioliteral@gmail.com">premioliteral@gmail.com</a></b></div>
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rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-2701020092344522592013-02-01T17:18:00.002-08:002013-02-06T20:12:26.593-08:00Cruzar la Cara de la Luna, a Mexican Opera<div class="separator" style="clear: both; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ1gfLO7Jo1RcAkL9y7t-1qJkN0At1neFvjViZcBKEuLcN3upK2tNGnNpyL2LgD3YjUSSO77CIvWTK5EBTqMA2IiON8z6Zdl6ddvxsNMvdhzT9vD2jNTl08GyjhEoS4v6qFvMXOPQH8I8/s1600/Celia+Duarte+(Renata)+&+Octavio+Moreno+(Laurentino)+Photo+credit+Felix+Sanchez).JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ1gfLO7Jo1RcAkL9y7t-1qJkN0At1neFvjViZcBKEuLcN3upK2tNGnNpyL2LgD3YjUSSO77CIvWTK5EBTqMA2IiON8z6Zdl6ddvxsNMvdhzT9vD2jNTl08GyjhEoS4v6qFvMXOPQH8I8/s400/Celia+Duarte+(Renata)+&+Octavio+Moreno+(Laurentino)+Photo+credit+Felix+Sanchez).JPG" width="400" /></a></div>
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<i><i>Houston Grand Opera debuted the world's first
mariachi opera and after a successful run in Paris it returns home to Houston
in March of 2013. </i><span style="font-style: normal;"><o:p></o:p></span></i></div>
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<i>Cruzar la Cara de la Luna is a dynamic and
inspirational work that captures the nature of the immigrant experience.
Written by composer and writer José “Pepe” Martínez (music director of the
world famous Mariachi Vargas de Tecalitlán) and directed by Broadway
director and author Leonard Foglia, who also wrote the lyrics, Cruzar la Cara
de la Luna is a fusion of the traditions of mariachi songs and opera, both of
which speak through music about love and loss, family and country.</i><span style="font-style: normal;"><o:p></o:p></span></div>
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<span style="font-family: Times; font-size: 12pt; font-style: italic;">Literal
had the opportunitty to talk to </span>
<span style="font-family: Times; font-size: 12pt;"><i>Broadway
director and author Leonard Foglia who wrote the lyrics for </i>Cruzar la cara de la luna<i>: </i></span><br />
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<b>How did you come out with an idea like this and what were
the challenges you encountered when you translated the immigrant experience
into opera and mariachi music?</b>
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Anthony Freud, the General Director of HGO at the time,
first had the idea to try to find a way to use mariachi music for the opera
stage. It fell to me to come up with a story that would have meaning for the
Mexican-American community in Houston. And I knew immediately that if the style
of the music was to be mariachi then I had to steer away from anything overtly
political and that the story being told would have to be an emotional one <o:p></o:p></div>
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<b>The immigration is a phenomenon that has been present in the US for many
years. However, there was always the doubt about the community´s capacity to
appreciate this kind of cultural expression. What are your thoughts on this?</b></div>
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We are at a time in our history, here in the US, when the
issue of immigration is front and center. Just a few days ago the President
mentioned it in his Inaugural address. But part of the problem is that so many
people look at it as just an ‘issue’. That’s why I chose to tell a very
specific personal story of a family. I wanted to show the faces behind the
discussion.<o:p></o:p></div>
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<b>Will you be producing more shows of this nature?</b></div>
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With Mariachi? Right now nothing is planned. But I would
like to.</div>
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<b><i>Cruzar la Cara de la Luna</i> set a new benchmark in operatic storytelling,
why is so?</b></div>
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When I was first interviewing different immigrants about
their lives and wondering myself about the use of this type of music I would
ask – tell me what comes to mind when I mention mariachi music – and the answer
that struck me the most was – home. So, I knew if we were starting from a place
where there is already an emotional attachment to a style of music then we were
the ones taking a step toward a community by offering something that already
had meaning for them. We are not only saying that your story belongs up on this
stage but so does your music.<o:p></o:p></div>
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<b>You had a successful season in Paris. Can you share with us your
experiences there? Did you go to any other place in Europe?</b></div>
<div class="MsoNormal" style="text-align: justify;">
The most startling moment in Paris, which has no history of
mariachi music and to my knowledge is not invested in the Mexican-American
experience at all, came from a comment by one of the administrators of the
theater. She decided to bring her children to a performance and with them was
their Croatian nanny. When the administrator went to see how her children liked
the performance she found that the nanny was crying. When asked why the
performance affected her so much the nanny said, “It’s my story.”<o:p></o:p></div>
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<b>What made you take the decision to come back to Houston?</b></div>
<div class="MsoNormal" style="text-align: justify;">
We are hoping that those who missed it the first time round,
and not just those in the Hispanic community, will have the opportunity now.<o:p></o:p></div>
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rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com2tag:blogger.com,1999:blog-5334043744915076910.post-55979452401432514552013-01-17T19:04:00.002-08:002013-01-17T19:05:19.381-08:00American Modern<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ky7JaOUHOgsrEOdEgjQlpJGkHRtWAh2Si4tWKWJIQ3ift-bRXpODN-JJfksQgJj9Kp8JJ5ZZonnnSc_0Yv5tx2-eVVVTr6hbVyXi_Udv3UXQZtflxYWvOdhXw7h5-LZ6Z77pv4gzQOs/s1600/-mnt-press.moma.org-public-wp-content-files_mf-cache-a10043b59dd86cb48cf6b381e29c4502_okeeffe.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ky7JaOUHOgsrEOdEgjQlpJGkHRtWAh2Si4tWKWJIQ3ift-bRXpODN-JJfksQgJj9Kp8JJ5ZZonnnSc_0Yv5tx2-eVVVTr6hbVyXi_Udv3UXQZtflxYWvOdhXw7h5-LZ6Z77pv4gzQOs/s320/-mnt-press.moma.org-public-wp-content-files_mf-cache-a10043b59dd86cb48cf6b381e29c4502_okeeffe.jpg" width="252" /></a></div>
<span class="Apple-style-span" style="color: #242424; font-family: 'Helvetica Neue', Helvetica, Verdana, Arial, sans-serif; font-size: 13px; line-height: 19px;">Drawn from MoMA’s collection, <em style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; font-size: 13px; font-style: italic; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">American Modern</em> takes a fresh look at the Museum’s holdings of American art made between 1915 abd 1950, and considers the cultural preoccupations of a rapidly changing American society in the first half of the 20th century. Including paintings, drawings, prints, photographs, sculpture, and film, <em style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; font-size: 13px; font-style: italic; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">American Modern </em>brings together some of the Museum’s most celebrated masterworks, contextualizing them across mediums and amidst lesser-seen but revelatory works by artists who expressed compelling emotional and visual tendencies of the time.</span><span class="Apple-style-span" style="color: #242424; font-family: 'Helvetica Neue', Helvetica, Verdana, Arial, sans-serif; font-size: 13px; line-height: 19px;"></span><br />
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<span class="Apple-style-span" style="color: #242424; font-family: 'Helvetica Neue', Helvetica, Verdana, Arial, sans-serif; font-size: 13px; line-height: 19px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8GKr_i2Lc_P_xwm6TnLq6WOgfxtIqPk1PV88uT9wAsuHAuC_nxf-C3ljeE5O0-SW2i_DfrhVx61Q1uEFbyKiONZlzDrvUXChgkJs0spYphf02M2AKoGz0UcnplfGZsVe6UnG_2NMK-38/s1600/-mnt-press.moma.org-public-wp-content-files_mf-cache-a10043b59dd86cb48cf6b381e29c4502_bellows.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8GKr_i2Lc_P_xwm6TnLq6WOgfxtIqPk1PV88uT9wAsuHAuC_nxf-C3ljeE5O0-SW2i_DfrhVx61Q1uEFbyKiONZlzDrvUXChgkJs0spYphf02M2AKoGz0UcnplfGZsVe6UnG_2NMK-38/s320/-mnt-press.moma.org-public-wp-content-files_mf-cache-a10043b59dd86cb48cf6b381e29c4502_bellows.jpg" width="252" /></a>The selection of works depicts subjects as diverse as urban and rural landscapes, scenes of industry, still-life compositions, and portraiture, and is organized thematically, with visual connections trumping strict chronology. Artists represented include George Bellows, Stuart Davis, Edward Hopper, Georgia O’Keeffe, Charles Sheeler, Alfred Stieglitz, and Andrew Wyeth, among many others. Far from an encyclopedic view of American art of the period, the exhibition is a focused look at the strengths and surprises of MoMA’s collection in an area that has played a major role in the institution’s history. The exhibition is organized by Kathy Curry, Assistant Curator for Research and Collections, and Esther Adler, Assistant Curator, Department of Drawings.</span></div>
<span class="Apple-style-span" style="color: #242424; font-family: 'Helvetica Neue', Helvetica, Verdana, Arial, sans-serif; line-height: 19px;">
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*First and second images:</div>
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<!--StartFragment--><span class="Apple-style-span" style="font-size: xx-small;"><span style="color: #1b1b1b; font-family: HelveticaNeue;">Georgia O’Keeffe (American, 1887–1986). <i>Evening
Star, No. III</i></span><span style="color: #1b1b1b; font-family: HelveticaNeue;">. 1917. Watercolor on paper mounted on
board. 8 7/8 x 11 7/8″ (22.7 x 30.4 cm). The Museum of Modern Art, New York.
Mr. and Mrs. Donald B. Straus Fund. © 2012 The Georgia O’Keeffe Foundation /
Artists Rights Society (ARS), New York
Digital Image © The Museum of Modern
Art, New York, Digital Imaging Studio</span><!--EndFragment-->
</span></div>
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<!--StartFragment--><span class="Apple-style-span" style="font-size: xx-small;"><span style="color: #1b1b1b; font-family: HelveticaNeue;">George Bellows (American, 1882–1925). <i>Dempsey
and Firpo</i></span><span style="color: #1b1b1b; font-family: HelveticaNeue;">. 1923-24. Lithograph composition: 18
1/8 x 22 3/8″ (46 x 56.9 cm), sheet: 22 3/4 x 26″ (57.8 x 66 cm). Publisher:
probably the artist, New York
Printer: Bolton Brown, New York. Edition: 103.
The Museum of Modern Art, New York. Abby Aldrich Rockefeller Fund Digital Image
© The Museum of Modern Art, New York, Digital Imaging Studio</span></span><!--EndFragment-->
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</span>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-65723181908083270102012-09-10T16:28:00.000-07:002012-09-10T16:28:45.848-07:00Literal Magazine at the annual Houston Fine Art Fair<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP5MYV3HOfcV_hrtDEDf5xjGpSKGRLc9llauE7RZEP9-X9DnYjg5COrkzTl0fcgJ1bblf42NPe4tYJBD9r-w7Y3hmdqDK6tkdbP4hDFkOU4cGDFedlbKlYW38DM27yf4nL6t7JQLd310g/s1600/14.+Laura+Ortiz+Vega,+Corazon,+Embroidery+thread+and+wax+on+board,+8''+x+20'',+2012,+Courtesy+of+Antena+Estudio.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP5MYV3HOfcV_hrtDEDf5xjGpSKGRLc9llauE7RZEP9-X9DnYjg5COrkzTl0fcgJ1bblf42NPe4tYJBD9r-w7Y3hmdqDK6tkdbP4hDFkOU4cGDFedlbKlYW38DM27yf4nL6t7JQLd310g/s400/14.+Laura+Ortiz+Vega,+Corazon,+Embroidery+thread+and+wax+on+board,+8''+x+20'',+2012,+Courtesy+of+Antena+Estudio.jpg" width="400" /></a></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;">Literal Magazine will participate in the second annual<b> Houston Fine Art Fair. </b>The event will assemble leading galleries from across the United States, Latin America and Europe Sept. 14 -16, 2012 at Houston’s Reliant Center. <b>Eighty galleries, representing approximately 11 countries and 31 cities</b>, have established the Houston Fine Art Fair (HFAF) as the largest in the Southwest Region. </span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;">World-renowned collectors, curators and art patrons, from the experienced to the novice, will experience an exciting and diverse array of</span><span style="font: 11.0px 'Lucida Grande'; letter-spacing: 0.0px;"> <span class="Apple-style-span" style="font-size: small;">paintings, drawings, print editions, installations, sculpture, and photography. </span></span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;">“This year’s show will reflect Houston as a top flight art market</span><span style="letter-spacing: 0.0px color: #444ca8;">,” </span><span style="letter-spacing: 0.0px;">says Melissa Grobmyer, President of MKG Art Management and HFAF Show Advisor.</span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;">Galleries from throughout the world will exhibit at HFAF and come from Bolivia, Chile, Colombia, Cuba, England, Seoul Korea, México, Switzerland, and Venezuela. In the United States, look for galleries representing Baltimore, Bay Shore, Bloomington, Charlotte, Chicago, Coral Gables, Culver City, Dallas, Grass Valley, Houston, Los Angeles, Miami, Millerton, New York, Philadelphia, San Antonio, Santa Fe, Scottsdale and Washington. </span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"><b></b></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><b>Stellar contemporary galleries,</b> with a large contingent from Texas, California, and New York, include the prominent Flowers Gallery, Holly Johnson Gallery, Kopeikin Gallery, Margaret Thatcher Projects, Pavel Zoubok Gallery, Schroeder Romero & Shredder, Tomlinson Kong Contemporary, Talley Dunn Gallery, Von Lintel Gallery, and Western Project. Younger generation galleries presenting cutting-edge work include Galerie Kashya Hildebrand, Luis de Jesus, La Casona Gallery, Mission Project and Vicky David Gallery.</span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;">In keeping with last year, HFAF will host a strong Latin influence with art galleries Antena Estudio, Beatriz Esguerra Arte, Drexel Galeria, Galeria Alfredo Ginocchio, Gonzalez y Gonzalez, La Casona, Pan American Art Projects, Patricia Conde Galeria, Salar Galeria de Arte and Toca Galeria.</span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;">To complement the Latin influence, HFAF is proud to host actor, director and performer (half of the comedy team Cheech and Chong) <b>Cheech Marin</b>. Marin has developed one of the finest private collections of Chicano art in the country.</span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;">“Chicano art is American art,” said Marin, a third-generation Mexican American. “My goal is to bring the term ‘Chicano’ to the forefront of the art world.” Author of three books on this topic, Marin will curate the Thomas Paul Gallery booth to introduce the next generation of gifted Texas based Chicano artists.</span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;">The spotlight on Houston, the nation’s third largest art market, will showcase esteemed <b>local galleries</b> Anya Tish Gallery, Art From the World, Barbara Davis Gallery, Darke Gallery, Deborah Colton Gallery, David Shelton, Devin Borden Gallery, Gallery Sonja Roesch, Hiram Butler Gallery, Hooks Esptein Galleries, John Cleary Gallery, Koelsch Gallery, McClain Gallery, McMurtrey Gallery, Peel, PG Contemporary Gallery, Sicardi Gallery and Wade Wilson Art. </span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;">“This year, we focus on Texas, both its artists and collectors, as the generator for our amazing arts culture. The panels, events, and programming highlight Houston’s unique, sophisticated perspective in the international art market. HFAF will reflect the vitality and diversity of our city, state, and region,” says Grobmyer.</span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;">The Houston Fine Art Fair continues to build audiences in the southern United States through their vibrant <b>cultural partnership program</b>. This year’s partners include AIA Houston, The Architecture Center Houston, Art League Houston, Arts & Humanities Council of Tulsa, Asia Society, The Association of Professional Art Advisors, Bayou Bend Collection & Gardens, Big Medium, Blaffer Art Museum, The Blanton Museum of Art, Buffalo Bayou Partnership, City Arts Center, Contemporary Arts Museum Houston, Crystal Bridges Museum of American Art, Cynthia Woods Mitchell Center For The Arts, Dallas Art Dealers Association, DiverseWorks, Fluent~Collaborative, Fotofest, Fred Jones Jr. Museum of Art, Galveston Arts Center, Houston Arts Alliance, Houston Center for Contemporary Craft, Houston Center for Photography, Houston Cinema Arts Society, Houston Downtown Alliance, Houston Museum District, Lawndale Art Center, The McNay Art Museum, The Museum of Fine Arts, Houston, Nasher Sculpture Center, New Orleans Photo Alliance, Oklahoma Museum of Art, The Old Jail Art Center, Orange Show Center for Visionary Arts, The Pearl Fincher Museum of Fine Arts, Philebrook Museum of Art, Rice Gallery, Santa Fe Art Institute, Spring Street Studios, Station Museum of Contemporary Art, Texas Accountants and Lawyers for the Arts, Via Colori, and Winter Street Studios.</span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: center;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><b>Sponsors</b> for the 2012 Houston Fine Art Fair include Chartis Insurance; Fayez Sarofim; HEB-Charles Butt; Rottet Studios; Tootsies; Toyota/Lexus.</span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: normal normal normal 11px/normal 'Times New Roman'; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; min-height: 12px; text-align: center;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;">***</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;"></span><br />
</span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: small;"><span style="letter-spacing: 0.0px;">The fair will kick off <b>Thursday evening September 13</b></span><span style="font: 7.3px 'Times New Roman'; letter-spacing: 0.0px;"><b><sup>th</sup></b></span><span style="letter-spacing: 0.0px;"> with a <b>VIP Preview Party </b>from 6:00 p.m. until 7:30 p.m. and <b>Opening Reception</b> from 7:30 p.m. until 9:00 p.m., <b>benefitting The Core Program of the Glassell School of Art at the Museum of Fine Arts, Houston. </b>The program awards one-year residencies to exceptional highly motivated visual artists and critical writers who have not yet developed professional careers. The eight current and four new fellows will have their work shown at the Fair, with all sale proceeds going directly to the individual fellows. </span></span></div><div style="font: 11.0px 'Times New Roman'; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 12.0px; text-align: justify;"><span style="letter-spacing: 0.0px;"></span><br />
</div>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-34429743349322680152012-08-04T21:57:00.000-07:002012-08-04T21:57:41.303-07:00Derridá on Writing<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/qoKnzsiR6Ss" width="420"></iframe><br />
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<div style="text-align: left;">Derridá speaks about the real experience of writing and the unconscious </div>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-35887844765594629182012-06-11T11:16:00.003-07:002012-06-11T11:51:50.632-07:00Bradbury hijo de Julio Verne.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU6_9y60vWtyG-smMxhcCO7slX6gc-bddbuTd2iylUatloErrwRLtYy0sptcbYOUeUdcCPAJ5vcmtTkKURY2TVleKy8gngmlnR-zb8DXITzdHkRgdZmD6NwH80NwDOlAXesHDeXMP7aIo/s1600/ray.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU6_9y60vWtyG-smMxhcCO7slX6gc-bddbuTd2iylUatloErrwRLtYy0sptcbYOUeUdcCPAJ5vcmtTkKURY2TVleKy8gngmlnR-zb8DXITzdHkRgdZmD6NwH80NwDOlAXesHDeXMP7aIo/s400/ray.jpg" width="400" /></a><br />
<b>Por Jaime Perales Contreras</b><br />
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<div style="text-align: justify;">En su prólogo a <i>S is for Space</i> Ray Douglas Bradbury escribió lo siguiente:”Julio Verne fue mi padre. H. G.Wells fue mi tío sabio. Edgar Allan Poe era el primo con alas de murciélago que guardábamos en lo alto del desván. Flash Gordon y Buck Rogers fueron mis hermanos y amigos. Ahí tienen mi linaje. Añadiendo, por supuesto, el hecho de que muy probablemente, Mary Wollstonecraft Shelley, la autora de <i>Frankenstein</i>, era mi madre” Con esta célebre genealogía literaria, el escritor de ciencia ficción, nació en Waukegan, Illinois, Estados Unidos. A la temprana edad de 12 años, pidió una máquina de escribir de juguete para Navidad: “En esa máquina destartalada escribí mis primeros episodios imitando John Carter, jefe de los guerreros de Marte, y episodios enteros de <i>Chandú el Mago</i>, de memoria”. Precisamente su primer intento narrativo infantil, una secuela de una historia de Edgard Rice Burroughs, la escribió, “porque no tenía dinero para comprar el volumen de la serie”.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Durante su juventud, Ray Bradbury se ejercitó en el oficio de escritor.–teatro, cuentos y una novela-. Bradbury comentó que de 1938 a 1941, taladró millones de palabras, las cuales discretamente las incineró en el olvido.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">No sería sino hasta su cumpleaños número 21, cuando publicó su primer cuento en una revista de ciencia ficción. En los años subsecuentes, Bradbury escribió innumerables historias para diversas revistas de ciencia ficción, así como publicaciones “serias” de la talla de <i>The New Yorker</i>,<i> Harper’s</i>, <i>Saturday Evening Post</i>, <i>Colliers,</i> <i>The American Mercury</i>, <i>Charm, Mademoiselle</i> y <i>Playboy</i>, entre muchas otras.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">En 1947, su historia <i>Homecoming</i>, fue incluída en la selección oficial para el prestigiado premio literario O’Henry. El crítico Herschel Brickel afirmó del cuento que sin temor a “ruborizarse, en la comparación con los clásicos del período de la breve narrativa de Estados Unidos, su prosa invoca a Irving, Poe y Hawthorne”. Un año después, su ficción Powerhouse ganó el tercer lugar del O’ Henry.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Su primer libro de cuentos <i>Dark Carnival</i> (1949) (La feria de las tinieblas), un curioso y delgado libro, cuyas narraciones se centran en un oscuro circo en donde lo más inesperado puede ocurrir, fue inmediatamente vitoreado por los críticos ingleses y norteamericanos como un clásico.</div><div style="text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOfYcTCisKosjb-47MJXBqITbz3SfTtD8h3UQpTKE_eu1z1cDGLx3y30aAKBuhdeR98FurCjPTraA9WBHvMaY3Wpl_NkZU4aw1w-_I4ASGFg2NONHhaDlTYkE_HUDzXjhLlITTzfhz6aI/s1600/ray.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOfYcTCisKosjb-47MJXBqITbz3SfTtD8h3UQpTKE_eu1z1cDGLx3y30aAKBuhdeR98FurCjPTraA9WBHvMaY3Wpl_NkZU4aw1w-_I4ASGFg2NONHhaDlTYkE_HUDzXjhLlITTzfhz6aI/s400/ray.jpg" width="400" /></a></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">De Bradbury, probablemente uno de sus libros más famosos, <i>Crónicas marcianas</i> (1950) fue, al parecer, uno de los que le dio más trabajo para ser publicado. Fue rechazado por varias editoriales debido, sobre todo, a su curiosa y peculiar estructura narrativa. El volumen es una serie de cuentos que se relacionan entre sí, lo que nos da una sospechosa y falsa idea de haber leído una novela. Doubleday, el primer editor del volumen, se percató de esta particularidad y aceptó publicarlo, con la condición de que se titulara precisamente <i>Crónicas marcianas</i>.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Bradbury, en una entrevista para <i>The Paris Review</i>, confesó que fue el único cambio que le hizo el editor y la idea, como se puede comprobar, a través del tiempo, fue acertada.A cinco años de que se publicó en lengua inglesa, Jorge Luis Borges escribió el prólogo para la traducción en español de <i>Crónicas Marcianas</i>. La inusual y curiosa manera de juzgar a sus libros preferidos, le dio al texto de Bradbury la calificación de sobresaliente por parte del escritor argentino. Lo comparó con uno de sus autores predilectos H.G Wells, quien lo descubrió a los 10 años: “Hacia 1909 leí, con fascinada angustia, en el crepúsculo de una casa grande que ya no existe, Los primeros hombres de la luna de Wells. Por cierta virtud de estas Crónicas, de concepción y ejecución muy diversa, me ha sido dado revivir, en los últimos días del otoño de 1954, aquellos deleitables terrores”.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Bradbury fue diletante de la cultura latinoamericana (escribió varias historias de tema mexicano, entre las cuales destaca una sobre las momias de Guanajuato); la colonización del planeta rojo, descrita en las <i>Crónicas marcianas</i>, nos da en ocasiones la idea de estar leyendo el salvaje y nostálgico choque de culturas de la conquista de México.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Varias de las historias de Ray Bradbury fueron llevadas a la pantalla con favorable éxito comercial En 1953, por ejemplo, su historia <i>The Fog Horn</i>, se tradujo con el nombre de <i>The Beast from 20,000 Fathoms</i> (El monstruo de las 20,000 leguas). La anécdota: Una bestia prehistórica es encontrada en la Antártida y revivida por una serie de pruebas atómicas, lo que hace que se convierta en una devastadora amenaza para la humanidad. --Dos años más tarde, el director japonés Ishiro Honda, traería a la pantalla a un conocido monstruo de manera muy similar a la de Bradbury, con el nombre de Godzilla (1955)--. <i>The Beast from 20,000 Fathoms</i>, aportó, para esa época, una sustancial ganancia de 5 millones de dólares, debido en parte, a los modestos y económicos efectos especiales, sin carecer, por ello de calidad, producidos por Ray Harryhausen y sus extraordinarias miniaturas. También, en el mismo año, se realizó la película tipo B titulada <i>It Came from Other Space</i>, basada en el cuento de Bradbury <i>The Atomic Monster</i>, Asimismo, Ray Bradbury escribió el guión para la versión de John Huston de <i>Moby Dick</i> (1956), la famosa novela escrita por Herman Melville, protagonizada por Gregory Peck, como el amargado capitán Ahab.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Ray Bradbury colaboró en diversas ocasiones para la radio y la televisión norteamericana. Escribió, además, varios guiones para el programa de Rod Serling, Dimensión desconocida. Y, a su vez, Serling plagió en más de una ocasión las historias de Bradbury para su inmortal serie de ciencia ficción, lo que provocó severas reprimendas por parte del escritor norteamericano. Serling siempre se disculpó por haberlo hecho de manera completamente accidental. <i>La dimensión desconocida</i>, por su parte, como un homenaje, emitió en su capítulo número 100, la adaptación de su cuento de título whitmanesco <i>I Sing the Body Electric</i>.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Una de sus novelas más populares, <i>Fahrenheit 451</i> (1953), fue adaptada al cine por el director francés. Francois Trufant. El libro abre sus primeras páginas con la leyenda: “Fahrenheit 451: la temperatura a la que el papel de los libros se inflama y arde”. La novela describe a una cruel sociedad del futuro en el que poseer y leer libros equivale a un crimen imperdonable. En la novela existe una especie de bomberos policiales que se dedican a quemar los hogares en donde hay libros. La única manera de salvar al mundo, es aprender de memoria las obras de manera literal, punto por punto, coma por coma. Así que, en la novela, se genera una sociedad clandestina que se dedica a memorizar los libros más importantes de la cultura occidental. Las personas, por lo tanto, se convierten en libros vivientes. Alberto Manguel, en su A History of Reading, cuenta la historia de un hombre asesinado en Sachsenhausen, que era un famoso académico que se sabía de memoria muchos de los clásicos, y que, durante el tiempo que pasó en los campos de concentración, se había ofrecido como biblioteca viviente para sus compañeros de cautiverio. Manguel comentó: “Me imaginé al anciano en aquel lugar lóbrego e implacable, donde no había esperanza, al que alguien se le acercaba para solicitarle un texto de Virgilio o Eurípides y que se abría en una página determinada para recitar palabras antiguas a sus lectores sin libros. Años más tarde, comprendí que Bradbury lo había inmortalizado como uno de los miembros de esa multitud que guardan libros en su mente en <i>Fahrenheit 451</i>” La novela de Bradbury, como se puede observar, es una alegoría de las sociedades totalitarias, comparable a <i>1984</i> de George Orwell.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">En la década de los sesenta también se adaptó al cine la tercer de sus novelas más famosas titulada <i>El hombre ilustrado</i> (1951), la cual narra un misterioso y solitario personaje que se encuentra completamente tatuado. Aquel que ve los tatuajes del hombre ilustrado ve también su futuro. La gente lo odia porque a través de sus imágenes, cifradas en su cuerpo, contempla exactamente la manera en que morirá. <i>El hombre ilustrado</i> fue protagonizada por Rod Steiger, el actor que interpretó al infame Al Capone y que ganó el Oscar por su actuación del teniente de policía racista en la película <i>Al calor de la noche</i>.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Durante la década de los ochenta, Bradbury tuvo su propia serie de televisión, <i>The Ray Bradbury Theatre</i> en el que cada semana se presentaba un capítulo basado en uno de sus innumerables cuentos y novelas. El programa de televisión, aunque tuvo una audiencia disciplinada y fiel que veía el programa cada viernes, probablemente, prefería deleitarse con la prosa esmerada del narrador norteamericano.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Ray Bradbury jamás dejó de escribir. “Mi entusiasmo me sostuvo bien a través de los años: nunca me he cansado de los cohetes y las estrellas. Nunca he dejado de disfrutar la honesta diversión de morirme de miedo con algunas de mis narraciones más misteriosas y oscuras”. De hecho, una semana antes de su muerte a los 91 años, la revista <i>The New Yorker</i> publicó una colaboración autobiográfica de su vida como escritor en un número especial dedicado a la ciencia ficción.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Bradbury escribió 27 novelas y más de 600 cuentos. Sus libros vendieron más de 8 millones de copias y fue traducido a 38 idiomas.</div>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-83840416532255975072012-06-11T10:41:00.003-07:002012-06-11T11:50:57.247-07:00The Experimental Printmaker of Paula Roland<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFA0agcqd98ODg935asQNLvAM_ESo24ZlbpEk50_0vO6x4wZVWc7veokfPWRLkGhSqoib4uxtEJzaQWku29fWn-9ADszfLPTPT7nLOF0ML54rOK5FwUPnRywz4pmpv2vWOu5jIEbXcqvE/s1600/Paula+Roland.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFA0agcqd98ODg935asQNLvAM_ESo24ZlbpEk50_0vO6x4wZVWc7veokfPWRLkGhSqoib4uxtEJzaQWku29fWn-9ADszfLPTPT7nLOF0ML54rOK5FwUPnRywz4pmpv2vWOu5jIEbXcqvE/s400/Paula+Roland.jpg" width="387" /></a><br />
<span class="Apple-style-span" style="color: #666666; font-size: x-small;">Paula Roland, Language of Beauty XII (detail), 2012, Encaustic print,Shikoku paper</span><br />
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<div style="text-align: justify;">The experimental printmaker Paula Roland will soon be on view at the <a href="http://www.anyatishgallery.com/index.html">Anya Tish Gallery</a>. An expert in encaustic wax printing, Roland originated many of the techniques used in this method of making art. By combining the historic practices of encaustic painting and printmaking, a new form of art is developed: encaustic wax printing. As paper and wax are combined, Roland navigates the sea of shifting shapes, colors, depth and translucency in each changing encaustic print.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Fascinated by environmental extremes, Paula Roland chooses to surround herself with contrasting terrain and variable weather. Due to the process, her prints share an unpredictability and unique similarity to the New Mexican landscape that she calls home. The interplay of the heated wax and colorful pigments move in diverse ways slowly revealing an artistic narrative that is then transferred onto environmentally mindful Shikoku paper. Although Roland is in charge of each print she creates, the underlying level of uncertainty brilliantly creates monotype prints that can never be re-created or foreseen.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Paula Roland has been the recipient of multiple grants, awards and fellowships for her innovative printmaking. She has received a grant from the National Endowment for the Arts, two installation grants from the Contemporary Arts Center New Orleans, two artist residencies from the Santa Fe Art Institute and two fellowships from the Virginia Center for Creative Arts. She has participated in over 60 group exhibitions and over 18 solo exhibitions since 1984.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Opening Reception: June 22, 2012, 6:00 - 8:30 pm</div><div style="text-align: justify;">On view: June 22 - July 21</div><div style="text-align: justify;"><br />
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</div>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com1tag:blogger.com,1999:blog-5334043744915076910.post-8036496205471786722012-05-14T14:38:00.000-07:002012-05-14T14:41:44.054-07:00Los cien años de Tarzán<br />
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<b><span lang="ES-PA">Por </span><span class="Apple-style-span" style="font-family: 'Times New Roman'; font-size: 16px;">Jaime Perales Contreras</span></b></div>
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<span lang="ES-PA">En octubre de 1912, la popular revista norteamericana
de principios de siglo XX, <i>All Story Magazine</i></span><span lang="ES-PA">, dio a
conocer el relato <i>Tarzán de los monos</i></span><span lang="ES-PA">, escrita por el novelista norteamericano
Edgard Rice Burroughs. Dos años después, se publicó en libro la famosa aventura
de Lord Greystoke, aristócrata inglés, y millonario, criado por gorilas, cuyo
nombre de batalla simplemente se le conoce como el de Tarzán (El piel blanca). <o:p></o:p></span></div>
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<span lang="ES-PA">Como se puede observar, al leer la
novela, el estilo literario de Burroughs es claro y directo. Muchas veces sus
párrafos son de una sola línea, lo que era utilizado por muchos escritores de
narraciones <i>pulp</i></span><span lang="ES-PA"> de su época, a quienes se les
pagaba por página. El éxito de su
libro hizo que Edgard Rice Burroughs escribiera 22 secuelas y que, asimismo, se
hayan vendido más de 30 millones de ejemplares y que fuera traducido a más de
50 idiomas, sin contar las innumerables series de tiras cómicas, filmes y
dibujos animados que se han hecho sobre el personaje. <o:p></o:p></span></div>
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<span lang="ES-PA">Las regalías de sus libros hicieron
que Burroughs comprara un rancho que tituló, en honor a su personaje, con el nombre de <i>Tarzana</i></span><span lang="ES-PA">, y que, posteriormente, por un
indescriptible apetito por los negocios, el autor lo convirtió en fraccionamiento,
lo que formaría más tarde el conocido
distrito ubicado en Los </span><span lang="ES">Ángeles</span><span lang="ES-PA">, California.<o:p></o:p></span></div>
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<span lang="ES-PA">En la novela de Burroughs no aparece
el chimpancé <i>Cheetah,</i></span><span lang="ES-PA"> ni Tarzán vive en una casa empotrada en un grupo de árboles con Jane su
esposa, ni con un niño adoptado de nombre <i>Boy</i></span><span lang="ES-PA">, como las películas de Johnny Weissmuller,
falsamente nos instruyen. Tampoco Tarzán se expresa con el famoso monólogo
cinematográfico <i>Me Tarzan, You Jane</i></span><span lang="ES-PA"> (<i>Yo
Tarzán, tú Jane),</i></span><span lang="ES-PA">
el cual<i> </i></span><span lang="ES-PA">jamás se
cristaliza en la historia literaria. Al contrario, el personaje es un hombre
con un coeficiente intelectual de
genio, que, en las novelas, habla con un inglés correcto, con un ligero acento
francés. Ninguno de los filmes que se han hecho sobre el género ha rescatado esta curiosa
licencia lingüística franco-inglesa. <o:p></o:p></span></div>
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<span lang="ES-PA">Tarzán fue un niño amamantado por un
gorila, lo que le da la fuerza y agilidad de uno de ellos. Y que, a lo largo de
la novela, nos encontramos que, debido a esto, combate, y liquida exitosamente,
con la ayuda de un cuchillo, a tres simios, un leopardo y dos leones. Uno de
los feroces felinos, por cierto, es estrangulado por los poderosos brazos de
este salvaje aristócrata de la selva africana a mano limpia.<o:p></o:p></span></div>
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<span lang="ES-PA">El relato, además de ser una novela
de aventuras, es una historia de
amor. Jane Porter, joven y bella exploradora, se enamora profundamente de
Tarzán, debido a que éste la rescata de ser violada por un gorila a mitad de la
selva. ---De hecho, el capítulo de la novela influyó para que posteriormente se
filmara la película <i>King Kong</i></span><span lang="ES-PA"> (1932), en el que en la película aparece esta curiosa, y salvaje
atracción de una bestia por un ser
humano.<o:p></o:p></span></div>
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<span lang="ES-PA">A Burroughs se le ha acusado de ser
racista. En la novela, las tribus de negros son crueles e ignorantes caníbales,
que no merecen vivir. Aquellos que ven el rostro de Tarzán mueren sin
misericordia. Incluso, uno de ellos, después de muerto, casi es devorado por
este mítico y curioso personaje como señal de triunfo, venganza y poderío. Sin
embargo, Tarzán no condesciende al canibalismo, lo más salvaje que nos llega a
informar el libro es que tiene, entre su dieta, simplemente el de alimentarse
con carne cruda de león.<o:p></o:p></span></div>
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<span lang="ES-PA">Tarzán es individualista por
naturaleza. La novela apela a los valores de la supremacía blanca sobre el
salvajismo de una selva inconquistable. Burroughs, de hecho, admiraba a otro
exegeta de la vida salvaje, su colega el escritor Rudyard Kipling. Las
similitudes entre <i>El libro de la selva</i></span><span lang="ES-PA"> y <i>Tarzán</i></span><span lang="ES-PA"> <i>de los monos</i></span><span lang="ES-PA"> son diversas. Sin embargo, Kipling, a
diferencia de Burroughs, defiende la vida comunitaria sobre la individual.
Tarzán, al igual que la obra de Kipling, tuvo influencia del famoso caso del
niño lobo, mejor conocido como Gaspar Hauser. Hauser, como se recuerda, fue
un infante alemán nacido a
principios del siglo XIX, que se dice fue criado en completo aislamiento y que,
posteriormente, sería misteriosamente asesinado. Se rumoró que Hauser, al igual
que Tarzán, era descendiente de nobles.
<o:p></o:p></span></div>
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<span lang="ES-PA">En el caso de los filmes, el más
conocido protagonista del personaje fue Johnny Weissmuller, el tercer actor que
lo caracterizó, quien estelarizó once
películas de la serie. Sin embargo, Elmo Lincoln fue probablemente el
Tarzán más cercano a la novela, al menos físicamente. Lincoln, el primero de la
serie, tenía una estatura de casi dos metros y de gran complexión muscular.
Gordon Scott, el onceno Tarzán, fue el primero de la serie que habló de la
manera culta y educada descrita en las novelas de Burroughs.<o:p></o:p></span></div>
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<span lang="ES-PA">La película de dibujos animados<i> Tarzán (1999)</i></span><span lang="ES-PA"> de Walt Disney, intentó rescatar la
fidelidad de la obra literaria. Sin embargo, como es de esperarse, edulcora
varias secciones de la novela. <i>Greystoke: La leyenda de Tarzán</i></span><span lang="ES-PA"> (1984), protagonizada por
Christopher Lambert, utiliza las dos primeras novelas de Edgard Rice Burroughs
sobre el personaje y hace una película muy cercana al original. En <i>Greystoke</i></span><span lang="ES-PA">, como en las novelas, el héroe
decide regresar a África como
manera de afirmar que el mundo civilizado tiene menos valor y atractivo
que la vida selvática.<o:p></o:p></span></div>
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<span lang="ES-PA">Como manera de aniversario, en los
Estados Unidos, <i>La biblioteca de Norteamérica </i></span><span lang="ES-PA">(<i>The Library of America</i></span><span lang="ES-PA">) puso en circulación en este año
una nueva edición de la versión original <i>Tarzán de los monos</i></span><span lang="ES-PA"> de 1912. Esta curiosa colección de
libros fue fundada en 1979 y tiene como tarea publicar a los clásicos
norteamericanos en bellas ediciones. El modelo de esta selección literaria es
la legendaria antología de inmortales publicados por <i>La Pléiade</i></span><span lang="ES-PA">, en Francia. <i>La biblioteca
de Norteamérica </i></span><span lang="ES-PA">se
basó también en la idea original del crítico estadounidense Edmund Wilson.<o:p></o:p></span></div>
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<span lang="ES-PA">Edgard Rice Burroughs murió el 19 de
marzo de 1950, y, curiosamente, jamás puso un pie en África.<o:p></o:p></span></div>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-14102983228198384152012-04-16T14:56:00.000-07:002012-04-22T18:56:05.446-07:00A life involved: Wendy Watriss<div class="MsoNormal" style="line-height: 30pt; text-indent: 0.5in;">
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<span class="Apple-style-span" style="font-family: ArialMT;"><b><span class="Apple-style-span" style="font-size: large;">By Fernando Castro R.</span></b></span></div>
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<span style="font-family: ArialMT; font-size: 14pt;"><b>Part II: <i>A Completely Foreign Country*</i></b></span></div>
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<span style="font-family: ArialMT;"><i><span class="Apple-style-span" style="font-size: x-small;">*Part I was published in Lteral´s Spring Issue 2012</span></i></span></div>
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<span style="color: black; font-family: ArialMT;">After her adventurous African journey in 1970 Wendy Watriss came back to New York to publish her stories and photographs. There she met Frederick Baldwin by chance. She recalls, “We did some assignments together in New York and we had a great time.” Shortly thereafter,</span><span style="color: red; font-family: ArialMT;"> </span><span style="font-family: ArialMT;">Wendy took off again for Europe to do several assignments as both a re-porter and photographer for <i>Newsweek</i></span><span style="font-family: ArialMT;">, <i>The Smithsonian</i></span><span style="font-family: ArialMT;">, and <i>The New York Times</i></span><span style="font-family: ArialMT;">. “Even though I had gotten involved with Fred, <span style="color: black;">I </span>left for Vienna thinking that I was not coming back. But Fred prevailed (she laughs gleefully) and a year-and-half later I came back.”</span></div>
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<span style="font-family: ArialMT;">Thus Wendy and Fred began a life as a couple built on shared interests and common projects. Almost immediately they embarked on a project that they called “Back Roads of America.” Wendy describes it this way, “It was a way to get back to the grassroots experience of the United States. Both of us had been socially involved in different ways: he in the Civil Rights Movement, and I, at the level of world and national news. However, neither one of us had necessarily gotten the sense of how people from small towns live the American, or the U.S. experience and history. We decided that we would start in Texas. Fred bought a dinky trailer. He liked to call it a camper but it was more like a trailer —pulled by his hand-made Mercedes Cabriolet. Poor car! They only made about 300 of them!” Wendy makes an effort to hold the laughter caused by that jocund image that is obviously one of her fondest memories thus far. “Texas to me was like a completely foreign country,” she adds.<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">D<span style="color: black;">riving south through Arkansas and Mississippi</span> Fred and Wendy arrived in Texas in 1971. <span style="color: black;">Wendy reminisces, “Along the way we stayed with migrant workers, farmers, and many other people. I would write every night. Once when we were heading towards Austin we passed through Anderson, Texas. It was three o’clock and school was out. We saw two remarkable things. In this town of three hundred people, there was a very large and imposing late 19<sup>th</sup> century Victorian-style courthouse at the head of the one main street with western-like architecture on both sides. The buildings were a bit run-down, but the courthouse was in good condition and stood like a great sentinel. On the street where we were driving, there were lines of black students coming out of school. It looked like the old South. No question about it. So Fred and I said to each other, ‘There is something about Texas history that is not being told.’”<o:p></o:p></span></span></div>
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<span style="color: black; font-family: ArialMT;">Later at a dinner party in Austin that Dave and former Texas governor Anne Richards had given on their behalf, Wendy and Fred confirmed their impression with the notable Texas historian Larry Goodwyn. After doing more research at the University of Texas library they decided to stay in the Lone Star State. Wendy explains why: “Texas cultural frontiers parallel and reflect important cultural, ethnic, and</span><span style="font-family: ArialMT;"> demographic movements in U.S. history.” For a while they chose Austin as their home base.<o:p></o:p></span></div>
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<span style="color: black; font-family: ArialMT;">Fred taught at the Journalism School and Wendy at the American Studies Program of the University of Texas. Wendy remembers that they combined their classes in a hands-on project for students to reconstruct the history of different communities. “By going out and talking to people and politicians, we had identified two Austin neighborhoods that needed historic designations. One was Clarksville, one of the city’s oldest African-American nei-ghborhoods; the other one, Hyde Park, a predominantly white middle class neighbor-hood. We sent out our students as teams of writer-reporters and photographers to document these neighborhoods block by block, research their history, and select a subject that was socially significant to be the focus of a written and photographic essay. These students were juniors and seniors of the advanced program of the University of Texas who were obliged to leave the classroom and make personal contact with strangers. It was an experience that changed the lives of at least ten of them.”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;"> <span style="color: black;">After teaching at UT, Fred and Wendy set off on a two-year research project about Grimes County. “We stayed on a farm owned by an African-American family and we lived in our trailer!” says Wendy amused. “</span>That family was a very unusual one because the father had created their wealth in the late eighteen-hundreds while the older generation had work-ed as tenant farmers in the big cotton farms along the Navasota-Brazos River.”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">During that time Wendy and Fred also worked on a story about the black rodeo in the southwest, but their main focus remained the communities of Grimes County itself where<span style="color: black;"> there had been a history of racial tension.</span><span style="color: red;"> </span><span style="color: black;">Wendy explains, “The county was part of the corn and cotton frontier of Texas first settled by Anglo-American plantation owners from the old South that had brought African-American slaves with them. After the Civil War, there was a lot of racial conflict and violence in the county. African-Americans had gained political power as post-Civil War Republicans. In the late 1890s, the Populist Party became powerful, bringing white and black people together. A white Populist sheriff who had African-American deputies was literally shot out of office by white landowners. For the following seventy years, the county’s politics were dominated by the White Man’s Union. This was true in many Texas counties and throughout the South until the Voting Rights Act of the 1960’s.”<o:p></o:p></span></span></div>
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<span style="color: black; font-family: ArialMT;">Knowing that their presence in the county was quite conspicuous, Wendy and Fred took steps to preempt any unseemly confrontation.</span><span style="color: red; font-family: ArialMT;"> </span><span style="color: black; font-family: ArialMT;">“In Grimes County, we were thoroughly checked out by law officers and the Department of Public Safety because we were outsiders. We were pretty bizarre. Luckily we had very good manners and Georgia license plates. We were very careful.</span><span style="font-family: ArialMT;"> We introduced ourselves to the presidents of the biggest banks, the county sheriff, the chief of police, and two of the county commissioners. We did not know until later how well we were going to be checked out.<span style="color: black;"> After two years of talking to people throughout the county and taking pictures of many events, we got to know everybody in the county. </span>In fact, we were asked to do their sesquicentennial memoir. We did it like the English staging of Dylan Thomas’ <i>Under Milk Wood. </i></span><span style="font-family: ArialMT;"> We asked students to read scripts of personal histories of people in the county. Behind them, we projected pictures from family albums. Besides the original settlement, the county’s history included Polish people, German settlers, and Mex-ican-Americans.”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">In 1976, Wendy and Fred showed the Grimes county work at the Menil’s Rice Institute for the Arts. The exhibit had 400 pictures. Wendy describes it, “The idea was to experience American history through the county. The show took you visually from the outside —as if you were driving through—and little by little it brought you to the inside: the black life, the white life, their segregation, and some aspects of integration. In one room we had a projection of the old pictures we had photographed of members of different communities. The opening night was amazing because many people from Grimes county came —both black and white. They hired about eight buses. Dominique de Menil, whom we did not know very well at that time, was beside herself with joy. One of the best things was when the African-American artist John Biggers brought hundreds of black students to the exhibit. He told them: ‘We may not ever have the chance to see this view of black and southern history again.’”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">Wendy reflects, “A lot of what I know and understand about the United States now came from having lived that experience and then gone to the German Hill County —which was completely different. To do that second project we were able to get a research grant from the National Endowment for the Humanities. We should have stopped and done the Grimes book, but instead we went almost immediately to the Hill country. We stayed there for a little over a year, photographing and doing oral history. The Germans who settled there came as a result of the 1848 upheavals in Europe; the nationalist movements in Germany, Hungary, Poland… These immigrants came to the Central part of Texas when it was still Comanche territory. Many were craftsmen from small towns. The Germans were probably the only ones who could have settled that territory. Due to the harsh conditions they probably lost about a third of their people. <span style="color: black;">They thought they were buying agricultural land but unscrupulous developers had sold them land with very thin topsoil</span><span style="color: red;">.</span> Nevertheless, they adapted. They learned from the Mexicans how to raise sheep and goats. They lived on relatively small homesteads seventy-five acres or less —compared to the larger plots in East Texas, which were about five hundred acres. They built settlements and limestone houses. But theirs was a completely different political culture. It was what in the book we called “artisanal republicanism” with a small ‘r.’ If you read Robert Caro’s book on Lyndon Johnson, the name of our book about this work, “Coming to Terms,” comes from one of its chapters.”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">“In <i>Coming to Terms</i></span><span style="font-family: ArialMT;"> we include a copy of a remarkable document about the conception of government of these German settlers. If I remember correctly the statement was from 1857. It spelled out what the relationship of civil society and government should be: what government and what individual citizens should be responsible for. Government has to be responsible for infra-structural developments like roads and schools. This was completely antithetical to any southern-democratic government. That there needed to be public schools was unheard-of in the South. There was also an anti-slavery statement in there. You can take that document today and say that it is what Barack Obama is talking about. During the Civil War the German settlers refused to be conscripted. They tried to escape to Mexico and they were massacred a couple of times. All of that history is completely different from the rest of Texas history. I don’t know how it is right now, but up to about ten years ago that county had one of the best hospital systems in the state, the best public school systems, music clubs, dance clubs, …because there was such a strong background of civic interconnection between the individual and society. Until about 1950 it was fairly homogenous. Even when we were there, there were families who just spoke German —fractured and bad German, but German nevertheless.”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">After their work on the German Hill country, Wendy and Fred headed to the southern tip of Texas, adjacent to Mexico. Wendy starts off again, “Although we did not do as much work there, the next area that we worked on was a border county that was Spanish-Mexican first and now is a Mexican-American county: Hidalgo. It became one of the major destinations for Mexican farm workers coming into the U.S. around 1910. At the time the border was still pretty open and ruthless land-developers thought they could make citrus farms out of much of this county. So they sold these tracts of land to people from the mid-west who had come down to farm. That is when the big Anglo-American influx into south Texas came; particularly in Cameron, McAllen, Brownsville, and Hidalgo counties —not so much Laredo, which was a little further northwest. One of the big land salesmen was Lloyd Bentsen’s father, that’s were that money came from. We stopped our work there around the time the big Central American influx began. Still the <i>colonias</i></span><span style="font-family: ArialMT;"> were in pretty bad shape when we were there. It was the last five or six years of <i>La Raza</i></span><span style="font-family: ArialMT;">, so Antonio Orendain<span style="color: blue;"> </span>was still a strong head of the farm workers union. He and Chávez had split because of personal egos. But he was a very strong leader of the farm workers of South of Texas, which may not even exist anymore. La Raza politics were beginning to challenge the Anglo politics that had dominated that area. A school by the name of Antioch College funded four or five grassroots community colleges around the county. They had a progressive curriculum that focused on history, literature, and social studies from a community level as opposed to just national culture. We documented a lot of that part of the Latino Hispanic heritage of Texas; although maybe not enough to do a book just about it. But we actually had some exhibits in the eighties and early nineties of this work. We showed the German and the Latino Southern area work at the Philipps Collection in Washington in 1979.”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">In the late seventies Wendy and Fred had to make a decision over whether they should stay in Houston or go back to New York. Wendy recollects their decision, “Our experience here with the Menils was very strong. I think that if Dominique hadn’t been here, we might not have moved here. Houston seemed like the most cosmopolitan, most open, and most interesting city in Texas.” So they stayed in Houston and they got one of the houses in the Menil <i>‘hood</i></span><span style="font-family: ArialMT;">. Fred was asked to come back to teach journalism at the University of Texas and he later taught at the University of Houston. Wendy continued to free-lance and did the story on Agent Orange over a year-and-a-half period. “There were a lot of Vietnam veterans around Austin, so I began doing the story there. <i>Life</i></span><span style="font-family: ArialMT;"> bought the story and enabled me to finish it. The story ran in <i>Life</i></span><span style="font-family: ArialMT;"> and it won the World Press Award.”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">The Agent Orange work is connected with the history of FotoFest. In 1979 Leica had begun to award the Oskar Barnack Prize and Wendy’s Agent Orange work was its third recipient. She remembers, “When Fred and I went to Amsterdam to receive the award, we were invited to Leica in Germany and several people there persuaded us to go to Arles in the summer. We did and we had a fantastic time. We brought the Texas work and the Agent Orange work. There was no organized portfolio review, but there was a way of meeting a lot of people, many of whom were in French, Belgian, and Scandinavian institutions. As a result, we had a lot of our work published in European magazines. The Agent Orange work was also published in the German magazine <i>Stern</i></span><span style="font-family: ArialMT;">. It was a very rich time. Back on the plane, Fred and I were talking about Arles and he said, “Why don’t we try something like that in the United States?” We had seen at Arles work that never got to States. Our idea was to break down the hierarchy, the closed circle of the decisions, and the curatorial power of the existing institutions of the United States, and open up to the world. Just about that same time, <i>Le Mois de la Photo</i></span><span style="font-family: ArialMT;"> started in Paris; so we went and met with Jean Luc Monterosso. In Houston there was a German gallery at the Rice Village owned by Petra Benteler: Benteler Gallery. A very fine gallery that showed showed predominantly European photography. They had a fine show of Atget. She also showed Hungarian photographer André Kertész, Henri Cartier-Bresson, and some more modern ones too. We got together with Petra and we hatched FotoFest over our breakfast table in 1983.” The first FotoFest was in 1986 and the HYPERLINK "http://2012biennial.fotofest.org/"FotoFest 2012 Biennial will be the Fourteenth International Biennial. Wendy and Fred’s profile as international curators gained along twenty-five years of intense labor has tended to hide their photographic work. That trend has been partially reversed with the recent publication of their book <i>Looking at the US 1957-1987</i></span><span style="font-family: ArialMT;"> (2009). In the meantime, Texas for them is no longer the “foreign country” that it once was.</span></div>
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</div>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-2989394836630204232012-04-16T14:48:00.000-07:002012-04-16T14:50:29.190-07:00Filming in León<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/G7QZGXYjz3g" width="560"></iframe><br />
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<b>By Patricia Collins</b><o:p></o:p></div>
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Can it be that nine years have passed since I heard the reading of David and Bathsheba? Now, in rereading the dramatic story, I find myself in a small neighborhood church in Leon, Guanajuato during our filming of the pilgrimage to San Juan de los Lagos . It would be part of “Guadalupe, Mother of All Mexico”. <o:p></o:p></div>
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With the help of the Guanajuato Film Commission, our independent film party had been placed in a new hotel with an impressive two-story fountain in the lobby. The first night I couldn’t sleep; I read while groups of pilgrims from time to time passed along the main street beneath my window. They sang, and they presented an impressive sight as the men and women walked along in the dark, protected somewhat by red lanterns swung back and forth by celadors, officers from their own ranks. The hymns began softly at a distance and got louder and louder until the pilgrims passed our hotel. I was nervous and excited by this filming excursion. But I was also very cold. My room had two beds, and I piled the covers from the second bed over me. We learned later that the hotel, new and pretty, lacked any heating,. It had a sun side and a shade side. Most of us were where the sun never reached,<o:p></o:p></div>
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Like all our shoots, this was “bare bones.” No extras. At the very beginning, our spare budget was the occasion of a miserable disappointment for our director. He decided to go along with me and our driver to check the route on a day that was not budgeted for filming. He decided, as a point of professionalism, not to take cameras. Without pay, no filming.<o:p></o:p></div>
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We came upon the major group of our pilgrims from San Miguel as they were praying under some mesquite trees. The leaders were all together, resting after hours of walking in the early morning. They appeared to have found an oasis. Fortunately, our sound recordist had brought equipment and so we proceeded with interviews that served generously as voice-overs in the final edit. But the setting, the perfect visual setting, slipped away. Our director was furious, first with me for not having funds to budget that day for filming , then with himself for not bringing loaded cameras anyway. He should have. <o:p></o:p></div>
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I was always seeking funds. Even on this trip I had arranged a couple of appointments with people who might lead to sponsors for this , our second film about the culture of Mexico and its spiritual basis. “Guadalupe, Mother of All Mexico” was to be an hour-long documentary, primarily aimed for the American PBS audience. Our material was coming together well. The second or third day in Leon I had a funding appointment in the late afternoon Returning to the hotel, I asked the taxi driver if he would come back in an hour to take me to the center of town for Mass. He agreed, and disappeared into the heavy evening traffic. <o:p></o:p></div>
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An hour later I was outside the hotel searching for him. Finally I realized he wasn’t coming back and I hailed the first cab that would stop. The young driver advised that we wouldn’t get into the center of town in time for the 7 pm Mass. I had seen a small church off several blocks from the main road and asked what he would charge to take me there and wait for me. I wouldn’t feel safe walking around an unknown barrio after dark. I trusted this young man to wait , but still I suggested he could come in to Mass, too, if he wanted. <o:p></o:p></div>
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After a short delay, I saw him enter the church and, somewhat to my surprise, come up and kneel down next to me. The first reading was of David and Bathsheba. This evening Mass in a small church had drawn many people. I wondered if the numbers were usual or if the proximity to the feast of Our Lady of San Juan had something to do with it. Returning to my back seat in the cab after Mass I asked the driver if he planned to go to San Juan. In a sudden move, he unbuttoned his shirt and drew it back to show his right arm and chest—a patchwork of different shades of skin. “ an accident, sulfuric acid “ He indicated with a wave of his hand that the damage extended down his leg. How many operations, how much time they had taken I didn’t absorb. I was in a state of shock, responding to the visual proof of the event.<o:p></o:p></div>
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“Si., Senora, I will go tomorrow,” he said. “ It only takes two days to walk from here.”<o:p></o:p></div>
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“I would walk barefoot if I could.” he added, “but my feet bleed too much.”<o:p></o:p></div>
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A pause. “ Are you going?”<o:p></o:p></div>
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I told him yes, but in a van. We had heavy equipment to take because we were filming. <o:p></o:p></div>
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<br /></div>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-40528177458319857302012-04-11T08:14:00.002-07:002012-04-11T08:18:53.339-07:00Pinturas de los maestros latinoamericanos en el MFAH<br />
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<span class="Apple-style-span" style="font-size: large;">A partir del 22 de abril el <a href="http://mfah.org/exhibitions/modern-and-contemporary-masterworks-malbacoleccion/">Museo de Bellas Artes de Houston (Museum of Fine Arts, Houston – MFAH)</a>, albergará la exhibición en préstamo de una de las instituciones culturales más importantes de América Latina: el Museo de Arte Latinoamericano de Buenos Aires, conocido como “Malba”. La muestra presenta 39 obras maestras de algunos de los artistas más reconocidos de la región, incluyendo Tarsila do Amaral, Frida Kahlo, Wifredo Lam y Diego Rivera, así como reconocidas figuras que llegan por primera vez al público de Estados Unidos. </span><br />
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<span class="Apple-style-span" style="font-size: large;">Un gran destacado de la exhibición es una pintura de 1928, pieza central de la identidad nacional brasileña: <i>Abaporu</i>, de Tarsila do Amaral. Amaral fue una pintora líder del modernismo latinoamericano que vivió y trabajó en París y São Paulo. A finales de la década de 1920, su obra <i>Abaporu </i>se convirtió en el emblema del movimiento <i>Anthropofagia </i>(canibalismo) en Brasil. Ambos -Amaral y el poeta Oswald de Andrade- utilizaron el canibalismo como una metáfora para describir la habilidad de los brasileños para digerir y transformar la cultura europea. <i>Abaporu </i>presenta una figura sentada, larga y estilizada, un cactus y un sol brillante, elementos a través de los cuales Amaral combina sin esfuerzo el sujeto de la obra brasileña con las influencias de vanguardia. El trabajo inspiró a una generación de artistas para crear un arte brasileño único, cuyas raíces estaban en la creencia que la identidad brasileña podía ser a la vez indígena y cosmopolita. Esta pintura ha sido vista por largo tiempo como un tesoro nacional y en 2011 Malba cedió la obra en préstamo a Brasil para ser presentada durante una visita del presidente de los Estados Unidos, Barack Obama y la primera dama, Michelle Obama.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Uno de los primeros trabajos cubistas de Diego Rivera, con-siderado ampliamente entre los grandes pintores del siglo XX, es otro de los destacados de la muestra. Mientras vivía en Europa, entre 1913 y 1918, Rivera produjo cerca de 200 obras de cubismo antes de regresar a México, en 1921 y convertirse en muralista -el trabajo por el cual es más reconocido-. <i>Retrato de Ramón Gómez de la Serna </i>(1915) es uno de los trabajos cubistas más impresionantes de Rivera. La obra muestra a su amigo, el escritor español Ramón Gómez de la Serna, quien luego se mudó a Buenos Aires y continuó siendo una importante figura cultural.</span></div>
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<span class="Apple-style-span" style="font-size: large;">El reconocido rostro de Frida Kahlo también hace su aparición. <i>Autorretrato con chango y loro </i>(1942), es un clásico trabajo tardío que muestra a la artista rodeada de dos de sus mascotas favoritas. La adquisición de esta pintura por Costantini en 1995, por aproximadamente US$ 3.2 millones (en ese tiempo, el mayor monto pagado por un trabajo de Kahlo), catapultó tanto la reputación internacional de Kahlo como la atención internacional a la colección de arte de Costantini.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Wifredo Lam, el artista cubano que se estableció en París y se hizo amigo de Picasso, alcanzó renombre por sus representaciones vanguardistas de la cultura afrocubana. Dos trabajos de Lam -una pintura sin título de la colección personal de Costantini así como <i>La mañana verde </i>(1943)- se podrán apreciar en la exhibición. Ambas están consideradas entre las pinturas más importantes de Lam por sus representaciones sintéticas de los símbolos de la santería y las leyendas afrocubanas, así como la delicada manipulación del artista del gouache (pintura al agua) como material.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Varios trabajos del artista uruguayo Joaquín Torres-García, el fundador del Constructivismo Universal, estarán en exposición, incluyendo su extraordinaria <i>Composition symétrique universelle en blanc et noir </i>(<i>Composición simétrica universal en blanco y negro) (</i>1931), uno de los ejemplos más fuertes y poco comunes que aún existen de dos años clave en su producción: 1931 y 1932, cuando el artista alcanzó el centro de su idioma Constructivo Universalista. Algunos de los trabajos de ese período fueron destruidos en el incendio de 1979 del Museo de Arte Moderno de Río de Janeiro.</span></div>
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<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
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<span class="Apple-style-span" style="font-size: large;">Dos trabajos del amigo y coterráneo del uruguayo Torres García, Rafael Barradas, también integrarán la muestra. Barradas creó varios movimientos artísticos mientras vivía en España, destacándose el <i>Vibracionismo,</i>cuyo objetivoera capturar el color y dinamismo de la vida urbana. Los dos trabajos de Barradas en esta exhibición son preciados ejemplos de este género. El pintor y escultor argentino Xul Solar, quien fuera objeto de una retrospectiva del Malba que viajó al MFAH en 2006, está representado en esta exhibición por <i>Troncos </i>(1919), una acuarela que reúne los intereses de Xul Solar en la mitología mundial y el estereotipo filosófico.</span></div>
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<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
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<span class="Apple-style-span" style="font-size: large;">Una serie de ejemplos de la prolífica carrera de Antonio Berni, la figura central argentina del siglo XX, estarán representados, incluyendo <i>Manifestación </i>(1934), un mural portátil que presenta una protesta pública. También de Berni, se podrán ver <i>La gran tentación </i>o <i>La gran ilusión </i>(1962), un comentario popular sobre el atractivo de la cultura consumista, hecha de un ensamblaje de plumas, lata y otros materiales encontrados. Uno de los <i>monstruos </i>alegóricos tridimensionales de Berni también serán parte de la muestra.</span></div>
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<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
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<span class="Apple-style-span" style="font-size: large;">Muchos de los artistas en la exhibición, si bien son ampliamente reconocidos en Sudamérica, son menos conocidos para el público de los Estados Unidos. Emilio Pettoruti está considerado uno de los artistas más importantes de 1920. Integrante del movimiento Futurista mientras vivía en Italia, Pettoruti se esforzó por llevar el Modernismo a la Argentina. Junto con el artista Xul Solar y el escritor Jorge Luis Borges, Pettoruti se involucró en el periódico de vanguardia <i>Martín Fierro</i>, en Buenos Aires. Dos dibujos con carbonilla en lienzo, los cuales se refieren al período futurista, han salido a la luz recientemente y estos trabajos extremadamente excepcionales serán incluidos en la exhibición. Se podrán apreciar escenas monumentales de la vida de los trabajadores, realizadas por Cándido Portinari, uno de los más importantes artistas brasileños que trabajó en la década de 1930 en el estilo del realismo social. También se expondrán trabajos del artista argentino Alfredo Guttero, quien es virtualmente desconocido en Estados Unidos pero es renombrado por las texturas únicas que alcanzó en su trabajo. Guttero creó una técnica llamada “gesso cocido”, que le da a sus lienzos la apariencia de un fresco. El resultado fueron pinturas exquisitas pero extremadamente frágiles, por lo que su traslado a otros museos no es permitido con frecuencia. Por fortuna, los conservadores del Malba han declarado la <i>Anunciación </i>(1931) de Guttero lo suficientemente estable como para enviarla a Houston.</span></div>
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*Top Image</div>
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<span class="Apple-style-span" style="font-family: monospace; white-space: pre-wrap;">[Covarrubias – George Gershwin.jpg]</span></div>
<pre wrap="">Miguel Covarrubias, Mexican, 1904-1957
George Gershwin, An American in Paris
1929
Oil on canvas
Malba-Fundación Costantini, Buenos Aires
© Maria Elena Rico Covarrubias</pre>
<br />rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-27252858667093004312012-03-27T21:59:00.000-07:002012-03-27T21:59:15.440-07:00A life involved: Wendy Watriss<!--[if gte mso 9]><xml>
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<span class="Apple-style-span" style="font-family: ArialMT;"><b><span class="Apple-style-span" style="font-size: large;">By Fernando Castro R.</span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG00C27CkJF7EAEB6hjlwXhzP2sllBUZw32VkNQnDsL3TObO_czIALYtG76tmxRy9mSjyf44HkjhitBQq3AajXVWJeqlkFZOg0V9Jr1W9wD3PMe5YrCkqbr7z9XSPkxKkxFfv6VsgdXeI/s1600/pic_wendy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG00C27CkJF7EAEB6hjlwXhzP2sllBUZw32VkNQnDsL3TObO_czIALYtG76tmxRy9mSjyf44HkjhitBQq3AajXVWJeqlkFZOg0V9Jr1W9wD3PMe5YrCkqbr7z9XSPkxKkxFfv6VsgdXeI/s400/pic_wendy.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: ArialMT;"><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></span></div>
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<span style="font-family: ArialMT; font-size: 14.0pt;"><b>Part
II: <i>A Completely Foreign Country*</i></b></span></div>
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<span style="font-family: ArialMT;"><i><span class="Apple-style-span" style="font-size: x-small;">*Part I was published in Lteral´s Spring Issue 2012</span></i></span></div>
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<span style="color: black; font-family: ArialMT;">After her adventurous African journey in 1970 Wendy
Watriss came back to New York to publish her stories and photographs. There she
met Frederick Baldwin by chance. She recalls, “We did some assignments together
in New York and we had a great time.” Shortly thereafter,</span><span style="color: red; font-family: ArialMT;"> </span><span style="font-family: ArialMT;">Wendy
took off again for Europe to do several assignments as both a reporter and
photographer for <i>Newsweek</i></span><span style="font-family: ArialMT;">, <i>The
Smithsonian</i></span><span style="font-family: ArialMT;">, and <i>The New York
Times</i></span><span style="font-family: ArialMT;">. “Even though I had gotten
involved with Fred, <span style="color: black;">I </span>left for Vienna thinking
that I was not coming back. But Fred prevailed (she laughs gleefully) and a
year-and-half later I came back.”</span></div>
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<span style="font-family: ArialMT;">Thus Wendy and Fred began a life as a couple built on shared interests
and common projects. Almost immediately they embarked on a project that they
called “Back Roads of America.” Wendy describes it this way, “It was a way to
get back to the grassroots experience of the United States. Both of us had been
socially involved in different ways: he in the Civil Rights Movement, and I, at
the level of world and national news. However, neither one of us had
necessarily gotten the sense of how people from small towns live the American,
or the U.S. experience and history. We decided that we would start in Texas.
Fred bought a dinky trailer. He liked to call it a camper but it was more like
a trailer —pulled by his hand-made Mercedes Cabriolet. Poor car! They only made
about 300 of them!” Wendy makes an effort to hold the laughter caused by that
jocund image that is obviously one of her fondest memories thus far. “Texas to
me was like a completely foreign country,” she adds.<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">D<span style="color: black;">riving south through Arkansas and
Mississippi</span> Fred and Wendy arrived in Texas in 1971.<span style="color: black;"> Wendy reminisces, “Along the way we stayed with migrant
workers, farmers, and many other people. I would write every night. Once when
we were heading towards Austin we passed through Anderson, Texas. It was three
o’clock and school was out. We saw two remarkable things. In this town of three
hundred people, there was a very large and imposing late 19<sup>th</sup>
century Victorian-style courthouse at the head of the one main street with
western-like architecture on both sides. The buildings were a bit run-down, but
the courthouse was in good condition and stood like a great sentinel. On the
street where we were driving, there were lines of black students coming out of
school. It looked like the old South. No question about it. So Fred and I said
to each other, ‘There is something about Texas history that is not being
told.’”<o:p></o:p></span></span></div>
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<span style="color: black; font-family: ArialMT;">Later at a dinner party in Austin that Dave and former
Texas governor Anne Richards had given on their behalf, Wendy and Fred
confirmed their impression with the notable Texas historian Larry Goodwyn.
After doing more research at the University of Texas library they decided to
stay in the Lone Star State. Wendy explains why: “Texas cultural frontiers
parallel and reflect important cultural, ethnic, and</span><span style="font-family: ArialMT;"> demographic movements in U.S. history.” For a
while they chose Austin as their home base.<o:p></o:p></span></div>
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<span style="color: black; font-family: ArialMT;">Fred taught at the Journalism School and Wendy at the
American Studies Program of the University of Texas. Wendy remembers that they
combined their classes in a hands-on project for students to reconstruct the
history of different communities. “By going out and talking to people and
politicians, we had identified two Austin neighborhoods that needed historic
designations.<span style="mso-spacerun: yes;"> </span>One was Clarksville,
one of the city’s oldest African-American neighborhoods; the other one, Hyde
Park, a predominantly white middle class neighborhood. We sent out our students
as teams of writer-reporters and photographers to document these neighborhoods
block by block, research their history, and select a subject that was socially
significant to be the focus of a written and photographic essay. These students
were juniors and seniors of the advanced program of the University of Texas who
were obliged to leave the classroom and make personal contact with strangers.
It was an experience that changed the lives of at least ten of them.”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;"><span style="mso-spacerun: yes;"> </span><span style="color: black;">After
teaching at UT, Fred and Wendy set off on a two-year research project about
Grimes County. “We stayed on a farm owned by an African-American family and we
lived in our trailer!” says Wendy amused. “</span>That family was a very
unusual one because the father had created their wealth in the late
eighteen-hundreds while the older generation had worked as tenant farmers in
the big cotton farms along the Navasota-Brazos River.” <o:p></o:p></span></div>
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<span style="font-family: ArialMT;">During that time Wendy and Fred also worked on a story about the black
rodeo in the southwest, but their main focus remained the communities of Grimes
County itself where<span style="color: black;"> there had been a history of
racial tension.</span><span style="color: red;"> </span><span style="color: black;">Wendy
explains, “The county was part of the corn and cotton frontier of Texas first
settled by Anglo-American plantation owners from the old South that had brought
African-American slaves with them. After the Civil War, there was a lot of
racial conflict and violence in the county. African-Americans had gained
political power as post-Civil War Republicans. In the late 1890s, the Populist Party
became powerful, bringing white and black people together. A white Populist
sheriff who had African-American deputies was literally shot out of office by
white landowners. For the following seventy years, the county’s politics were
dominated by the White Man’s Union. This was true in many Texas counties and
throughout the South until the Voting Rights Act of the 1960’s.”<o:p></o:p></span></span></div>
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<span style="color: black; font-family: ArialMT;">Knowing that their presence in the county was quite
conspicuous, Wendy and Fred took steps to preempt any unseemly confrontation.</span><span style="color: red; font-family: ArialMT;"> </span><span style="color: black; font-family: ArialMT;">“In Grimes County, we were thoroughly checked out by law officers
and the Department of Public Safety because we were outsiders. We were pretty
bizarre. Luckily we had very good manners and Georgia license plates. We were
very careful.</span><span style="font-family: ArialMT;"> We introduced ourselves
to the presidents of the biggest banks, the county sheriff, the chief of
police, and two of the county commissioners. We did not know until later how
well we were going to be checked out.<span style="color: black;"> After two years
of talking to people throughout the county and taking pictures of many events,
we got to know everybody in the county. </span>In fact, we were asked to do
their sesquicentennial memoir. We did it like the English staging of Dylan
Thomas’ <i>Under Milk Wood. </i></span><span style="font-family: ArialMT;"><span style="mso-spacerun: yes;"> </span>We asked students to read scripts of
personal histories of people in the county.<span style="mso-spacerun: yes;"> </span>Behind them, we projected pictures from family albums.
Besides the original settlement, the county’s history included Polish people,
German settlers, and Mexican-Americans.”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">In 1976, Wendy and Fred showed the Grimes county work at the Menil’s
Rice Institute for the Arts. The exhibit had 400 pictures. Wendy describes it,
“The idea was to experience American history through the county. The show took
you visually from the outside —as if you were driving through—and little by
little it brought you to the inside: the black life, the white life, their
segregation, and some aspects of integration. In one room we had a projection
of the old pictures we had photographed of members of different communities.
The opening night was amazing because many people from Grimes county came —both
black and white. They hired about eight buses. Dominique de Menil, whom we did
not know very well at that time, was beside herself with joy. One of the best
things was when the African-American artist John Biggers brought hundreds of
black students to the exhibit. He told them: ‘We may not ever have the chance
to see this view of black and southern history again.’”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">Wendy reflects, “A lot of what I know and understand about the United
States now came from having lived that experience and then gone to the German
Hill County —which was completely different. To do that second project we were
able to get a research grant from the National Endowment for the Humanities. We
should have stopped and done the Grimes book, but instead we went almost
immediately to the Hill country. We stayed there for a little over a year,
photographing and doing oral history. The Germans who settled there came as a
result of the 1848 upheavals in Europe; the nationalist movements in Germany, Hungary,
Poland… These immigrants came to the Central part of Texas when it was still
Comanche territory. Many were craftsmen from small towns. The Germans were
probably the only ones who could have settled that territory. Due to the harsh
conditions they probably lost about a third of their people. <span style="color: black;">They thought they were buying agricultural land but
unscrupulous developers had sold them land with very thin topsoil</span><span style="color: red;">.</span> Nevertheless, they adapted. They learned from the
Mexicans how to raise sheep and goats. They lived on relatively small
homesteads seventy-five acres or less —compared to the larger plots in East
Texas, which were about five hundred acres. They built settlements and
limestone houses. But theirs was a completely different political culture. It
was what in the book we called “artisanal republicanism” with a small ‘r.’ If
you read Robert Caro’s book on Lyndon Johnson, the name of our book about this
work, “Coming to Terms,” comes from one of its chapters.”<o:p></o:p></span></div>
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<span style="font-family: ArialMT;">“In <i>Coming to Terms</i></span><span style="font-family: ArialMT;"> we
include a copy of a remarkable document about the conception of government of
these German settlers. If I remember correctly the statement was from 1857. It
spelled out what the relationship of civil society and government should be:
what government and what individual citizens should be responsible for.
Government has to be responsible for infra-structural developments like roads
and schools. This was completely antithetical to any southern-democratic
government. That there needed to be public schools was unheard-of in the South.
There was also an anti-slavery statement in there. You can take that document
today and say that it is what Barack Obama is talking about. During the Civil
War the German settlers refused to be conscripted. They tried to escape to
Mexico and they were massacred a couple of times. All of that history is
completely different from the rest of Texas history. I don’t know how it is
right now, but up to about ten years ago that county had one of the best
hospital systems in the state, the best public school systems, music clubs,
dance clubs, …because there was such a strong background of civic
interconnection between the individual and society. Until about 1950 it was
fairly homogenous. Even when we were there, there were families who just spoke
German —fractured and bad German, but German nevertheless.” <o:p></o:p></span></div>
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<span style="font-family: ArialMT;">After their work on the German Hill country, Wendy and Fred headed to
the southern tip of Texas, adjacent to Mexico. Wendy starts off again,
“Although we did not do as much work there, the next area that we worked on was
a border county that was Spanish-Mexican first and now is a Mexican-American
county: Hidalgo. It became one of the major destinations for Mexican farm
workers coming into the U.S. around 1910. At the time the border was still
pretty open and ruthless land-developers thought they could make citrus farms
out of much of this county. So they sold these tracts of land to people from
the mid-west who had come down to farm. That is when the big Anglo-American
influx into south Texas came; particularly in Cameron, McAllen, Brownsville,
and Hidalgo counties —not so much Laredo, which was a little further northwest.
One of the big land salesmen was Lloyd Bentsen’s father, that’s were that money
came from. We stopped our work there around the time the big Central American
influx began. Still the <i>colonias</i></span><span style="font-family: ArialMT;">
were in pretty bad shape when we were there. It was the last five or six years
of <i>La Raza</i></span><span style="font-family: ArialMT;">, so Antonio Orendain<span style="color: blue;"> </span>was still a strong head of the farm workers union.
He and Chávez had split because of personal egos. But he was a very strong
leader of the farm workers of South of Texas, which may not even exist anymore.
La Raza politics were beginning to challenge the Anglo politics that had
dominated that area. A school by the name of Antioch College funded four or
five grassroots community colleges around the county. They had a progressive
curriculum that focused on history, literature, and social studies from a
community level as opposed to just national culture. We documented a lot of
that part of the Latino Hispanic heritage of Texas; although maybe not enough
to do a book just about it. But we actually had some exhibits in the eighties
and early nineties of this work. We showed the German and the Latino Southern
area work at the Philipps Collection in Washington in 1979.” <o:p></o:p></span></div>
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<span style="font-family: ArialMT;">In the late seventies Wendy and Fred had to make a decision over
whether they should stay in Houston or go back to New York. Wendy recollects
their decision, “Our experience here with the Menils was very strong. I think
that if Dominique hadn’t been here, we might not have moved here. Houston
seemed like the most cosmopolitan, most open, and most interesting city in
Texas.” So they stayed in Houston and they got one of the houses in the Menil <i>‘hood</i></span><span style="font-family: ArialMT;">. Fred was asked to come back to teach journalism
at the University of Texas and he later taught at the University of Houston.
Wendy continued to free-lance and did the story on Agent Orange over a
year-and-a-half period. “There were a lot of Vietnam veterans around Austin, so
I began doing the story there. <i>Life</i></span><span style="font-family: ArialMT;">
bought the story and enabled me to finish it. The story ran in <i>Life</i></span><span style="font-family: ArialMT;"> and it won the World Press Award.” <o:p></o:p></span></div>
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<span style="font-family: ArialMT;">The Agent Orange work is connected with the history of FotoFest. In
1979 Leica had begun to award the Oskar Barnack Prize and Wendy’s Agent Orange
work was its third recipient. She remembers, “When Fred and I went to Amsterdam
to receive the award, we were invited to Leica in Germany and several people
there persuaded us to go to Arles in the summer. We did and we had a fantastic
time. We brought the Texas work and the Agent Orange work. There was no
organized portfolio review, but there was a way of meeting a lot of people,
many of whom were in French, Belgian, and Scandinavian institutions. As a
result, we had a lot of our work published in European magazines. The Agent
Orange work was also published in the German magazine <i>Stern</i></span><span style="font-family: ArialMT;">. It was a very rich time. Back on the plane, Fred
and I were talking about Arles and he said, “Why don’t we try something like
that in the United States?” We had seen at Arles work that never got to States.
Our idea was to break down the hierarchy, the closed circle of the decisions,
and the curatorial power of the existing institutions of the United States, and
open up to the world. Just about that same time, <i>Le Mois de la Photo</i></span><span style="font-family: ArialMT;"> started in Paris; so we went and met with Jean Luc
Monterosso. In Houston there was a German gallery at the Rice Village owned by
Petra Benteler: Benteler Gallery. A very fine gallery that showed showed
predominantly European photography. They had a fine show of Atget. She also
showed Hungarian photographer André Kertész, Henri Cartier-Bresson, and some
more modern ones too. We got together with Petra and we hatched FotoFest over
our breakfast table in 1983.” The first FotoFest was in 1986 and the HYPERLINK
"http://2012biennial.fotofest.org/"FotoFest 2012 Biennial will be the
Fourteenth International Biennial. Wendy and Fred’s profile as international
curators gained along twenty-five years of intense labor has tended to hide
their photographic work. That trend has been partially reversed with the recent
publication of their book <i>Looking at the US 1957-1987</i></span><span style="font-family: ArialMT;"> (2009). In the meantime, Texas for them is no
longer the “foreign country” that it once was.<o:p></o:p></span></div>
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<!--EndFragment-->rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-88631307816693032832012-03-22T07:43:00.001-07:002012-03-22T07:44:11.747-07:00On History<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZdGng9ZmDGMLJK85hLMzSbPfxa2FM1xKvV90EmwNIB54k38o53Kwm9y100ZxPZdMFrmbSDBzzc-ounPx81v6sDyFJbbTNAj15F4n60WGHCqAxP7_EKhsDWqOi5qbsghQW0LJBdVPe_Q/s1600/Tariq_Ali_-_illustration_-_eunkyung_-_kang.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZdGng9ZmDGMLJK85hLMzSbPfxa2FM1xKvV90EmwNIB54k38o53Kwm9y100ZxPZdMFrmbSDBzzc-ounPx81v6sDyFJbbTNAj15F4n60WGHCqAxP7_EKhsDWqOi5qbsghQW0LJBdVPe_Q/s320/Tariq_Ali_-_illustration_-_eunkyung_-_kang.jpg" width="226" /></a></div>
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<span class="Apple-style-span" style="font-family: Helvetica, Arial, sans-serif; font-size: 13px; font-style: italic; line-height: 14px;"><span class="Apple-style-span" style="color: #0b5394;">I</span><span class="Apple-style-span" style="color: #783f04;">n January of 2012, </span><span class="Apple-style-span" style="color: #783f04;"><a href="http://www.rothkochapel.org/">The Rothko Chapel </a>hosted </span></span><span class="Apple-style-span" style="color: #783f04;"><span class="Apple-style-span" style="font-family: Verdana, Arial, sans-serif; font-size: 12px; font-style: italic; line-height: 16px;"> internationally acclaimed Pakistani writer and filmmaker</span><span class="Apple-style-span" style="font-family: Helvetica, Arial, sans-serif; font-size: 13px; line-height: 14px;"><i> Tariq Ali. Oliver Stone engaged with Tariq Ali in a probing, hard-hitting conversation on the forces that shape history and how that history gets told. The book </i>On History <i>chronicles their dialogue and brings to light a number of forgotten episodes of American history. Tariq Ali shared provocative insights from the book in front of a packed auditory.</i></span></span></div>
<div style="line-height: 115%;">
<span class="Apple-style-span" style="color: #783f04;"><span class="Apple-style-span" style="font-family: Helvetica, Arial, sans-serif; font-size: 13px; line-height: 14px;"><i><br /></i></span></span></div>
<span class="Apple-style-span" style="line-height: 18px;"></span><br />
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<span class="Apple-style-span" style="line-height: 18px;"><span style="font-size: 11pt;"><b>By Tariq Ali</b></span></span></div>
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<span class="Apple-style-span" style="font-family: arial; font-size: x-small; line-height: normal;"><strong><em></em></strong></span></div>
</span><br />
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<strong><em>Illustration: Eunkyung Kang</em></strong></div>
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<span style="font-size: 11pt;"><br /></span></div>
<div style="line-height: 115%;">
<span style="font-size: 11pt;">Oliver Stone is making a set of ten
documentaries for Showtime called <i>The Untold History of the United States</i></span><span style="font-size: 11pt;">. In the course of making those films, he interviewed
me specifically about the 20<sup>th</sup> Century for about seven or eight
hours. The essence of what I said is what is contained in the book <i>On
History</i></span><span style="font-size: 11pt;">. We talked about how history
has been devalued in the world, of how people have become almost frightened of
history. Essentially, the elite groups that rule this world, not simply in the
United States, are not interested in history. For a long time within academic
institutions, history is being downgraded too. In Britain, entire history
departments have been closed down. In older universities, they are not teaching
anything but 20<sup>th</sup> Century history. Nobody can understand
contemporary history without understanding the preceding centuries’ history. It
is a very narrow vision of the world, and this suits certain people. My point
is that History has not simply disappeared; it is often used badly and abused.</span></div>
</div>
<div class="Body1" style="line-height: 115%; margin-bottom: 10pt; text-align: justify;">
<span style="font-size: 11pt;">A starting point has to be the idea that the
historical process is not linear. It goes up and down. Progress,
rationalization, defeat, the rise of irrationalism, certainly for the last
thousand years... There is nothing pre-ordained that says history has to progress
and take the world with it. That is important to understand, though of course
the technological and scientific processes that have turned the world are
difficult to turn back. I am talking about politics and sociology where it is
perfectly easy, as we have seen, to reverse the status quo for the sake of what
has been considered to be for the general good. Roosevelt’s New Deal, for
instance, was taken for granted once it had been established. People assumed
that was fine and moved forward. This was not only the case in the United
States, it was the case for most European countries after the Second World War
where there was some form of social democracy, or governments which said that
certain elementary things had to be achieved because the people had been
through too much. For the most
part in Europe, this meant subsidized housing, free health, free medicine,
subsidized public transport and utilities. All were controlled by the state to
make life better for those who needed it to be made better. There was no actual
health service as such, and attempts create one failed—even Nixon had a very
good health program that was defeated by the resistance of the medical
professionals. The world created after WWII is now gone. <o:p></o:p></span></div>
<div class="Body1" style="line-height: 115%; margin-bottom: 10pt; text-align: justify;">
<span style="font-size: 11pt;">A new consensus emerged from the Reagan and
Thatcher years: the dogma or fundamentalist idea that the state cannot be
allowed to do anything for ordinary people. That it is not the right of the
state to intervene in any way, and that the market was the only determining
factor and would essentially be able to solve the problems of humankind. People
have forgotten—especially the younger generations who have grown up in the last
twenty to twenty-five years—what it used to be like in the realm of social and
political changes that took place, and many people have even forgotten how much
better, in a number of ways, the culture of society used to be. The plays that
were put on, the films that were made, the books that were read and
encouraged—all of this used to be much better and, incidentally, much more
diverse than it is today. Of course, to find the reason for that, we must look
in history. The principal enemy of the Western powers of the time as they
perceived it, was a particularly ruthless, distorted, degenerated and
bureaucratic form of communism which forbade these essential freedoms, did not
permit diversity of thought, segregated people for having different views and
which executed people without trials or due process of the law. Against that
particular political structure, the Western world, under the leadership of the
United States, wanted to show what it could be like. That 70 year gap produced
some of the most creative things in western society, but with the defeat of
that political system and its disappearance or implosion, it was no longer
necessary to be that creative. Societies all over the capitalist world are
returning to what they used to be in some ways prior to WWI. Where this becomes
very noticeable is after the Wall Street crash of 2008. <o:p></o:p></span></div>
<div class="Body1" style="line-height: 115%; margin-bottom: 10pt; text-align: justify;">
<span style="font-size: 11pt;">This crash continues to affect, not only the
US, but also the entire world. Europe is in a total mess, as are other parts of
the world. This particular economic crisis arose from the practice of creating
money and using said money to make more money. It is very unproductive and
based on fictitious capital. What happens when this crisis takes place? Was the
market allowed to determine how the crisis took shape? No. Had the market been
allowed to determine the outcome, a lot of banks would have gone under. The
reason they did not want those banks to go under was not because of the small
shareholders or depositors of those banks, but because huge amounts of money
were involved. It was almost as if the cycle had come full circle. The state
had denounced and attacked for years this particular system, and then it poured
billions of taxpayers’ money to save these banks without ever considering the
people. Therefore, the question that should be raised is: if the state can be
used to bail out the rich, why should not it be used to bail out the poor? <o:p></o:p></span></div>
<div class="Body1" style="line-height: 115%; margin-bottom: 10pt; text-align: justify;">
<span style="font-size: 11pt;">The government carries on as if nothing has
happened, while four of the top economies of the world are arguing that this is
sticking plaster at best and that the economy is going to fall apart if
everything carries on like this. The lessons of history have been forgotten.
One reason people cannot come up with any alternatives or advocate for them is
because they do not know them. That poses a problem on a very fundamental level
concerning the necessity of learning from and understanding history.<o:p></o:p></span></div>
<div class="Body1" style="line-height: 115%; margin-bottom: 10pt; text-align: justify;">
<span style="font-size: 11pt;"> History
can also be abused. One way is by, of course, forgetting it all. Another way is
by inventing mythologies to justify current policies, whatever they may be. One
very striking example of this is the case of Israel. A very distinguished
Israeli historian, Shlomo Sand at Tel Aviv University, wrote a book that
created a storm of controversy. He became a bestseller in Israel. It just took
the country by storm, and it took some time before it was published in the
West, but it eventually was. He essentially deconstructed all of the myths of
Zionism and prevented their use for the justification of the existence of
Israel. To be clear, Israel is here to stay and all citizens of Israel, whether
they be Jews, Palestinian-Arabs, Christians, and Muslims should have the same
rights. The right of return should be stopped. However, in order to put this
argument forward, he really did a lot of historical and anthropological work.
He argued that after the destruction of the Temple in AD 70, contrary to
mythology, there was no expulsion of Jews in the region. He pointed out,
correctly, that the Romans were not in the habit of expelling people from the
lands that they conquered because they needed people to cultivate the area. Not
only were there no expulsions, but there were Jewish communities numbering up
to 4 million people (which was large for that time) in Persia, Egypt, Asia
minor, and elsewhere. He argued that there notion was a notion of a separation
of the Jewish faith that was actually a reform movement, known as Christianity.
Therefore the idea that there was a proselytization is totally false. Many people were converted and some
others some converted themselves. The Ashkenazi Jews in particular grew out the
mass conversions on the edge of the Caspian Sea between the 7<sup>th</sup> and
10<sup>th</sup> Centuries of the Khazars. They finally adopted Hebrew and
converted to a more wholesale Judaism. The Ashkenazi Jews were the people in
the ghettos of Europe, and who suffered under the Holocaust. These are those
people who descended from the Khazars. They are the people who compose the bulk
of the Zionist movement, who had absolutely no connection to the Arab lands at
all. If Palestine is not the unique ancestral homeland of the Jews, what
happened to all the Jews in these countries? He says by and large in their
majority, they converted to Islam—most of them, not all of them, as many other
people did in that region at the time. The Palestinians, who we have been
expelling and oppressing, are the direct descendants of the Jews supposedly
expelled. This is a remarkable book and it is creating a huge debate. The
debate, he says, is not in Israel. It is interesting, most Israeli historians
accept this as accurate. Their response to Sand is that every nation creates
its own mythology, and ask what the big deal is. Well, this also true, but this
mythology is very potent and powerful because of the conflict it has unleashed
that is still going on. No one would mind the mythology if everything had been
settled and some agreement had been reached. But because it hasn’t, it becomes
a very disruptive force. Shlomo Sand himself is by no means a radical figure.
He says he is not a hardcore Zionist, but he believes in Israel. He thinks all
citizens should have equal rights so they cannot prohibit Palestinians to come
back to lands that were taken away from them while telling Jews, wherever they
may be in whatever part of the world, that they can come whenever they want.
The reason he wrote the book was to fight for equality. The big attacks on the
book have come from the Diaspora. <i>The New York Times</i></span><span style="font-size: 11pt;"> ran a big review of it that created a huge
controversy. In France and Britain there was some controversy, but by and large
it was mostly accepted. The historians who reviewed the book said it was
accurate. However, the Diaspora was angry that this had even been said, to
which Sand replied, "If you are so keen on saying I’m wrong and what I’m
doing is harming Israel, why don’t you put your money where your mouth is and
leave the Diaspora and come and settle in Israel?” <o:p></o:p></span></div>
<div class="Body1" style="line-height: 115%; margin-bottom: 10pt; text-align: justify;">
<span style="font-size: 11pt;">This is an example of how history is being
abused, and the abuse is triggering a huge and very creative debate. However,
debates and books alone do not sway the minds of powerful politicians or
rulers, because ultimately they do not rule on the basis of myths—the myths are
to keep the people in line. They rule for other reasons: to keep themselves in
power, to keep control of society as it is.<o:p></o:p></span></div>
<div class="Body1" style="line-height: 115%; margin-bottom: 10pt; text-align: justify;">
<span style="font-size: 11pt;">The failure to understand what has happened
over the last two centuries makes people accept some of the things going on
today. The 19<sup>th</sup> and 20<sup>th</sup> Centuries were the periods when
European imperial powers more or less dominated the world: Africa, Asia, and
then North America for a while. The British were the largest empire in the
world, and then France followed soon after. The Germans wanted their share,
which triggered two world wars. No one at that point in time within the
political classes of any of the European countries questioned occupying large
tracts of the world. They thought they were bringing civilization to it. That
was a widely-held view. It was only in the 20<sup>th</sup> Century that
nationalist movements erupted and began to find support in the metropolitan
imperial countries amongst minorities. It was well accepted. Might is right and
might is also civilization. I’ve always liked the reply by Gandhi to an
American journalist who asked him what was his view on Western Civilization. He
said, “I think it would be a good idea.” It’s very simply stated but very
understandable, because the people who suffered under them didn’t see them as
civilized empires.<o:p></o:p></span></div>
<div class="Body1" style="line-height: 115%; margin-bottom: 10pt; text-align: justify;">
<span style="font-size: 11pt;">Contrary to some aphorisms coined by some of
the great philosophers of the past, history very rarely repeats itself. In
fact, it never repeats itself, it echoes. And these historical echoes are
extremely important wherever and however they come. These echoes are never a
repetition as such. What is happening in the 21<sup>st</sup> Century is
essentially an old fashioned struggle for mastery of the world occurring in new
conditions. The struggle takes place with a unique situation that has never existed
in the world at any time since humanity began, which is the domination of the
world militarily by one single power. There have been different powers in the
past. Romans were all-powerful, but they were in the Mediterranean. They fought
the Persian Empire, which they knew and recognized. They did not even know what
the Chinese were doing or how much more advanced Chinese civilization was
compared to them. In today's world, the U.S. is the single most important
power, largely because of its military strength. It has more military power
than the next hundred countries put together. Therefore, the notion that it can
be challenged militarily by another state is unthinkable. The only way it can
be challenged is when it occupies a country and the people fight back, as it
has happened to a certain extent in Iraq and in a very big extent in
Afghanistan. Contrary to the European Imperialist model, the U.S. imperial
reach has ruled through indirect relays, whether it is through the military in
one country or politicians aligned with them in another. That is traditionally
the way the U.S. has had a presence in Latin American dictatorships in
Argentina, Brazil, Chile and others throughout the Cold War. They do not like
to occupy countries, but that has by and large remained the pattern of American
hegemony today.<o:p></o:p></span></div>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-69926711194143623012012-03-19T10:52:00.001-07:002012-03-19T10:55:21.166-07:00Viaje de vuelta<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz0IcYdv5VZkg1qJS8DjefG8KSTMp7LY2T4ypphxRoOHONWsTTWnAR_mW-h0SaY1kTVl9T_fjsWcKLMRmzVdEXDeKPMJs7-z495nEoDVl9QrtNaR6skDVMQt5ZAuBljfQj6oy_muzyyBI/s1600/viajedevuelta.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz0IcYdv5VZkg1qJS8DjefG8KSTMp7LY2T4ypphxRoOHONWsTTWnAR_mW-h0SaY1kTVl9T_fjsWcKLMRmzVdEXDeKPMJs7-z495nEoDVl9QrtNaR6skDVMQt5ZAuBljfQj6oy_muzyyBI/s400/viajedevuelta.jpg" width="308" /></a></div>
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<b><span class="Apple-style-span" style="font-size: large;">El martes 27 de marzo a las 7:00pm se presentará <i>Viaje de vuelta</i> de Malva Flores en la librería Rosario Castellanos del FCE. Aquí un adelanto del libro:</span></b></div>
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"Para <span style="font-style: italic;">Vuelta</span>, los
lectores no fuimos consumidores, sino ciudadanos. La vocación
minoritaria
de sus miembros no respondió a un afán “elitista”, en términos de
clase, sino a la convicción de que el artista, el rebelde, el crítico,
no podían ser productos de maquila. Su intransigencia política o
literaria apuntó más bien al reconocimiento del individuo, de su
capacidad para admirar el mundo y para criticarlo desde una postura
independiente, discrepando de la unanimidad.</div>
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Dije antes que <span style="font-style: italic;">Vuelta </span>podía
leerse como un diario, pues sus colaboradores no habían sido
apologistas o teóricos, sino protagonistas del siglo pasado en distintos
ámbitos y regiones. Al revisar sus páginas se pueden encontrar pistas
de vida, amores, traiciones, arrepentimientos y reconsideraciones
intelectuales; fechas de encuentros que el azar o la voluntad
construyeron y que susurran al lector <span style="font-style: italic;">nadie me lo contó: estuve allí.</span></div>
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Elegido
por el mercado editorial para encabezar las listas del Top Ten de la
narrativa hispanoamericana a inicios del presente siglo, el rebelde
Bolaño de los años setenta se convirtió en alimento precioso del voraz
hoyo negro de un mercado que busca engullir a los marginales y los
convierte en mercancía para después mostrárnoslos como estrellas de la
“civilización del espectáculo”. Pero el caso de Bolaño,
independientemente de sus méritos estéticos, es sólo ejemplo de
un problema mucho más amplio y más antiguo, que <span style="font-style: italic;">Vuelta </span>percibió siempre como una amenaza: la del poder del mercado que socavaba el de la tradición."</div>
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<b>Por Malva Flores</b></div>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-73436199262658801922012-03-06T20:06:00.002-08:002012-03-08T19:20:07.484-08:00MEXICO’S DRUG WAR AN EXCUSE FOR IMPUNITY AND INCREASING VIOLENCE AGAINST WOMEN<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDIw199IruQcpFNSE4TfA4TDXtgGHyvCyTSOevoR0lVwJk0shPZblvKWykH0ZsSXeF9gi09_5LE64o1GypacsUZuYugu15UtLsox77DSDA5q_HkwyR6Us-FVD5H6SXnqykbUcmHdNm1to/s1600/Maria+Herrera.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-family: Arial, Helvetica, sans-serif; white-space: pre-wrap;"><b>By Patricia Gras</b></span></a><br />
<pre wrap=""><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo Courtesy Judy Rand</span></pre>
<pre wrap=""><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; white-space: normal;"><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDIw199IruQcpFNSE4TfA4TDXtgGHyvCyTSOevoR0lVwJk0shPZblvKWykH0ZsSXeF9gi09_5LE64o1GypacsUZuYugu15UtLsox77DSDA5q_HkwyR6Us-FVD5H6SXnqykbUcmHdNm1to/s1600/Maria+Herrera.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDIw199IruQcpFNSE4TfA4TDXtgGHyvCyTSOevoR0lVwJk0shPZblvKWykH0ZsSXeF9gi09_5LE64o1GypacsUZuYugu15UtLsox77DSDA5q_HkwyR6Us-FVD5H6SXnqykbUcmHdNm1to/s400/Maria+Herrera.jpg" width="400" /></a></div>
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When Stieg Larsson wrote the first of his famous trilogy known as the “Girl with the Dragon Tattoo” before he died, the actual title of his book was the “ Men Who Hate Women.”</div>
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As a teenager Larsson had witnessed a gang rape of a young girl. Her name was Lisbeth like the main character of his books who was also a victim of rape.</div>
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You don’t expect anyone to notice this type of misogyny against women in a socialized country like Sweden where women tend to have more equal and human rights than other nations, but Larsson was sensitive enough to notice this is an international problem that is seldom discussed. Some men simply hate women and though they sleep with them, have children with them or are related to them in some way or another, they have no trouble raping, mutilating, trafficking, harassing or forcing them to disappear under the guise of war, political conflict or economic gain.</div>
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I had seldom heard the term “femicide” often defined as the misogynist murders of women because they are women. This includes the mutilation, murder, rape and beating of women. Recently, feminists in Latin America have started to use the term to describe the massive murders of women in Juarez and other parts of Mexico and Central America.</div>
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Violence against women has increased around the world. The United Nations Development fund for Women estimates that at least one out every three women globally will be beaten, raped or otherwise abused during their lifetime. During war, the stats get worse. According to UNIFEM, since the 90’s, 90 percent of war’s civilian casualties are women and children, not soldiers and this is what we corroborated in Mexico.</div>
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In January of this year, I was part of a delegation of Nobel Peace laureates led by Jody Williams, who won her peaceprize in 1997 for her work banning landmines around the world. I had met Ms. Williams while doing a local follow up television program to the Women War and Peace PBS series by award winning documentarian Abigail Disney. (You can watch the unprecedented series online http://www.pbs.org/wnet/women-war-and-peace/.)</div>
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In the 80’s she had worked defending human rights especially in Central America and is now leading a campaign to stop violence against women worldwide.</div>
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The Women Nobel Laureates had gathered a diverse group together from the US and Canada. Besides journalists, there were human rights activists, an Oscar winning documentary filmmaker, a celebrity folk singer/songwriter, a comedian, and a movie star. We were there to listen to human rights activists in Mexico, Honduras and Guatemala. I was a participant in the Mexican portion of the trip.</div>
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The goal was to listen and find out why there were so many violations against human rights activists, especially females who are fighting injustice and insecurity, and to guarantee the Mexican Government protects them.</div>
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When the most violent drug war started in the beginning of 2006, the Juarez murders of hundreds of women became common in other parts of Mexico as well. The violence increased towards civilians, journalists and human rights activists. The violence was often brutal. The female editor of the Primera Hora newspaper in the border town of Nuevo Laredo for instance was beheaded for using social media to report on criminals. Right now Mexico is the most dangerous country in the world to be a journalist and if you are female the danger increases.</div>
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Living in Texas, we hear more about Mexico and the impact the drug war has on its people and the US but I never imagined I would hear the stories I heard and the ramifications for a nation threatened by a what appears to be a protracted silent war claiming thousands of innocent victims, many of them women.</div>
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One of our delegates was Laura Carlsen, the director of the Americas Program of the Center for International Policy. She has been writing about the current drug war’s impact on women in Mexico. She reports that the more than 50,000 Mexicans who have disappeared on the government’s assault on the drug trade are civilians and that murders of women have increased dramatically. She also cites a recent survey of Mexican women human rights defenders that found government national state and local security forces are responsible in 55% of cases of violence and threats of violence to women defenders.</div>
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The President of Mexico says they are mostly related to the drug dealers but what would he know when only 2 percent of crimes are investigated.</div>
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In two days we heard over 50 women, the common word that came out of their accounts was “impunity.” They say there is no justice in Mexico, even for those who demand it. For example, women who seek to find why a daughter disappeared or a son was murdered or why a human rights activist was raped by police.</div>
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In the last few years, six prominent human rights defenders have been murdered. And though women make up a small portion of murders in Mexico, they are the ones in the frontline, demanding justice, investigating cases, standing up for the disappeared, the raped, trafficked, tortured or dismembered.</div>
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There will be a report prepared by the Nobel Women’s delegation with all the accounts, each with its own characteristics, victims and anonymities since almost all lack any formal investigation.</div>
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As we listened to each account, the victims were no longer just tragic, cold and hard statistics. Each story had a face, and included a family’s suffering, an unsolved mystery and a high level of frustration and disappointment with authorities. They were accounts of real people seldom heard in their country or the world.</div>
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We heard the story of Araceli Rodríguez who is part of a movement for peace. Her son, a police officer disappeared like hundreds do in Mexico and there was no investigation. She like many with similar accounts of family members who disappear started the peace movement to carry out the investigations themselves. “I have learned to turn my own pain into collective strength. “ My soul has been mutilated by the absence of my son.”</div>
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María Herrera Magdalena shared a similar account. Her face stricken with grief while she spoke. Her four sons disappeared along with 19 other people. Again their cases were never investigated. Today she says spends every day tired of crying and begging for information. She is now committed to helping other families find their loved ones and demanding justice from the government. She like so many others call for a cease fire of a war that claims innocent and seemingly forgotten victims. “All governments in the world must come together to learn what is going on in Mexico. This is a national tragedy. We have been betrayed by our government.”</div>
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One of the most difficult cases we heard was fraught with tremendous brutality and violence. A young woman from Chiapas shared how working as a health provider with native women led to her torture and rape by several police agents. She can no longer find work. Her kids can’t go to school and she has no place to go though she suffers from PTSD.</div>
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Many of these women dealt with disappearances of family members and couldn’t get any relief from authorities so they joined groups to do the work of those who are supposed to serve them.</div>
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The next day we went to Chilpancingo the state capital of the mountain region of Guerrero, one of the poorest and most violent states in Mexico. Here indigenous peasant women suffer daily indignities by the police, the military, local governments and even their own tribes which have little regard for them.</div>
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80 percent of the natives here live in the mountains and in utter poverty.</div>
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Jody Williams shared at a press conference. “I was struck by the total lack of justice for indigenous women. The have no access to justice.”</div>
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Tlachinollan, the human rights center which welcomed us struggles to keep its doors open for human rights workers and those in need in this area providing all kinds of social and legal services and making sure mining (gold and silver) corporations or any corporations for that matter don’t step on their rights. The needs are much greater than the services, especially now under increasing militarization of the area. These indigineous communities are also plagued by domestic violence and to this day there are no women’s shelters to escape. If women have the courage to stand up for themselves, government officials won’t likely speak their native language and care little to meet their needs.</div>
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This extends to health care. We heard Juana Anairis whose sister passed in her twenties because the doctor refused to see her during the weekend. She died of a staff infection right after birth.</div>
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Two widows Margarita Martín and Marta Morales lost their human rights activist husbands and are trying to raise kids alone without a job because there is no work.</div>
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A young woman shared the story of her repressive family. Her own mother told her women in this culture were worth nothing. She refused to believe it and left her tribe at the age of 14 to study in another city. When she returned she was rejected because she was actually working and successful. This story was repeated by other women. They are discriminated outside and inside their communities.</div>
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Yet the courageous women who spoke don’t give up. They found radio stations, lead environmental groups, join the police force or defend women’s productive rights despite the harassment and danger. They continue to seek justice, though they are often re victimized, ignored or simply blamed, threatened for even speaking out. In Mexico, if you are a human rights leader, or a grassroots organizer or a journalist or indigenous and you happen to be female, the government will most likely turn you away.</div>
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We did visit the office of CONAVIM, the (Comison Nacional Para Prevenir y Erradicar la Violencia Contra Mujeres) ”The National Commission to prevent and eradicate Violence Against Women.” Dilcya García Espinosa de Los Monteros is respected for what she’s done in the short period there. She did promise the delegation leaders she would continue the dialogue with the network of human rights defenders and their office and create a protocol for the protection of the activists. She is also leading the creation of “Justice Centers” for women to protect their rights but she did admit they lack funds to confront such a widespread problem. This is also a political post which may end with the new administration.</div>
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Jody Williams shared she was happy CONAVIM was trying to make a difference. “They are people of action and as a woman activist myself with 40 years of experience, I know the only thing that works in these cases is action.”</div>
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Lisa Vene Klasen Director of Just Associates, an international women’s rights organization athat partnered with the Nobel Peace Laureates in the fact finding mission expressed CONAVIM was an ally and agreed to continue the dialogue between human rights defenders and the commission, especially to create a protocol to protect them.</div>
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What this agency can do however has a lot to do with the priorities of the new administration that will take over the country in July of this year. One of the most popular candidates Enrique Peña Nieto of the PRI party served as governor of the state of Mexico from 2005 to 2011, during one of the worst periods of violence against women and human rights violations in its history.</div>
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So whether it is the government, the cartels, priavate security companies hired by national or transnational companies, the police or the military, women or their defenders become targets, the victims of a society which generally doesn’t value them. Maybe Stigg Larsen has something to say about that but his voice is silenced not only by his passing but also by the loud violent voice of some weak, violent, and cowardly men who hate women.</div>
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If you want to help stop the violence against women. Here are some of the recommendations by the Nobel Women’s Initiative.</div>
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RECOMMENDATIONS FOR THE INTERNATIONAL COMMUNITY:<br />
� Prioritize human rights and women’s human rights in particular, in Mexico, Honduras and Guatemala. We urge you to work with the governments of Honduras, Mexico and Guatemala to ensure that it follows through on its responsibility to properly investigate all complaints of human rights violations against women, prosecute violations and compensate the survivors.<br />
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� Publicly denounce violence against women, including the targeting of women human rights defenders. Diplomats and members of the international community can help end the climate of ‘tolerance’ for targeted violence against women by denouncing specific cases of such violence as they arise.<br />
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� Tie aid and funding to human rights. We urge you to ensure that technical and financial support provided by different international organizations and governments to the governments of Mexico, Guatemala and Honduras fully complies with, and respects, human rights standards.<br />
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� Monitor the principal of judicial independence. We urge you to push the governments of Mexico, Honduras and Guatemala to guarantee judicial independence and effectiveness in order to combat impunity for violence against women and ensure fundamental rights are protected.<br />
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� Implement effective mechanisms for dispute resolution. We urge you to work with the governments of Mexico, Honduras and Guatemala to implement effective mechanisms to resolve disputes over land rights and titles, labour rights, environmental and collective rights. This will help ensure that women’s human rights defenders do not become targets of intimidation and aggression as a result of their involvement in these disputes.<br />
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� Support women at the community level to help bring an end to violence in the region. Investing in grassroots women’s organizations working to end violence in their community is a cost-effective, efficient and very sustainable way of improving security for people in Mexico, Honduras and Guatemala. We urge you to earmark a greater proportion of foreign assistance to women’s organizations. This community-based model will reduce a dangerous dependence on armed solutions to security challenges.
For more information on the delegation, please visit the Nobel Women’s Initiative website: www.nobelwomensinitiative.org.
For media interviews, please contact: Rachel Vincent, Media Manager, Nobel Women’s Initiative rvincent@nobelwomensinitiative.org | 613-276-9030; 613-569-8400, ext. 113</div>
</span></pre>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-83962280408549607342012-02-23T22:28:00.001-08:002012-02-23T22:33:27.651-08:00Librotraficante Caravan Smuggling Banned Books Back to Arizona Sparks National Movement<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxxQkTG5o0mqoj1XrlVTkXWgD2vn3LQk91TpWRHpAHm8vYFF-ryuCkLJ2BZ2UUuJ0eY2NSgokqNMlBtjZ6kQcS_ivjT-5K-sV80O8GUFwlOagJehPrfY3TB6MSPGgyyJ5zIhoLJiiqgnM/s1600/2281.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxxQkTG5o0mqoj1XrlVTkXWgD2vn3LQk91TpWRHpAHm8vYFF-ryuCkLJ2BZ2UUuJ0eY2NSgokqNMlBtjZ6kQcS_ivjT-5K-sV80O8GUFwlOagJehPrfY3TB6MSPGgyyJ5zIhoLJiiqgnM/s400/2281.jpg" width="318" /></a></div>
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<span class="Apple-style-span" style="font-size: large;">The Librotraficante Caravan is a movement that started in Houston </span><span class="Apple-style-span" style="font-size: large;">when some books were banned from the Arizona education system.The caravan i</span><span class="Apple-style-span" style="font-size: large;">s intended to r</span><span class="Apple-style-span" style="font-size: large;">aise awareness of the prohibition of the Mexican American Studies Program and the removal of books from classrooms. It´ll work on the p</span><span class="Apple-style-span" style="font-size: large;">romotion of banned authors and their contributions to American Literature.</span></div>
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<span class="Apple-style-span" style="font-size: large;">It´ll create a network of resources for art, literature and activism.</span></div>
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<span class="Apple-style-span" style="font-size: large;">They will travel from Houston, Texas, to Tucson, Arizona</span><span class="Apple-style-span" style="font-size: large;">, carrying a payload of contraband books, creating networks of Underground Libraries and leaving community resources in its wake. One of many responses to Arizona’s unconstitutional laws prohibiting Mexican American Studies, the Librotraficante Caravan has captured the imagination and hearts of activists, writers, educators, and students from all walks of life who want to preserve freedom of speech.</span></div>
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<span class="Apple-style-span" style="font-size: large;">The Librotraficante Caravan will launch from Houston at 10 a.m. on Monday, March 12, from Casa Ramirez Folk Art Gallery (241 West 19th Street, Houston, Texas 77008.) It will stop in San Antonio and El Paso, Texas; Mesilla and Albuquerque, N.M., and culminate in Tucson, Ariz., on Friday, March 16. On St. Patrick’s Day, Saturday, March 17, they’ll host a huge literary celebration of El Batallion San Patricio at 6 p.m., celebrating Irish and Mexican collaboration of the past. The caravan celebrates Quantum Demographics, or multifaceted cultural unity, throughout its tour also highlighting African American and Native American literary contributions along the route. The entire schedule is available <a href="http://www.Librotraficante.com/">online</a>. </span></div>
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<span class="Apple-style-span" style="font-size: large;">“Every great movement is sparked by outrage at a deep cultural offense,” said Tony Diaz, founder of Nuestra Palabra: Latino Writers Having Their Say, which has led the charge, “When we heard that Tucson Unified School District administrators not only prohibited Mexican American Studies, but then walked into classrooms, and in front of young Latino students, during class time, removed and boxed up books by our most beloved authors - that was too much. This offended us down to our soul. We had to respond.”</span></div>
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<span class="Apple-style-span" style="font-size: large;">Diaz added, “With their record of anti-immigrant legislation, politicians in Arizona have become experts in making humans illegal. We did not do enough to stop that, thus that anti-immigrant legislation spread to other states such as Alabama and Georgia. Now, these same legislators want to make thoughts illegal. If we allow this to happen, these laws, too, will spread. Other branches of ethnic studies will be prohibited, and other states will follow suit.”</span></div>
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<span class="Apple-style-span" style="font-size: large;">With its radio program and blockbuster literary showcases, Nuestra Palabra: Latino Writers Having Their Say has 13 years of experience promoting Latino literature and literacy with authors and thinkers from across the country. This once informal alliance of artists, activists, educators, and professionals has galvanized to create cornerstone structures for a network that will remain in place for future causes as well.</span></div>
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<span class="Apple-style-span" style="font-size: large;">The full spectrum of this network links the talents of such people as Genius Mac Arthur Grant recipient Sandra Cisneros, whose beloved novel <i>HOUSE ON MANGO STREET</i> has been prohibited in Tucson High School classrooms. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Among the supporters are Sandra Cisneros, who kicked off their fundraising efforts by making a generous donation; Guggenheim Fellow Dagoberto Gilb, whose work recently appeared in the <i>New Yorker </i>and <i>Harpers </i>simultaneously; and best selling author Luis Alberto Urrea, with multiple titles found on the banned book list, was the first to enthusiastically support the project through Twitter. Other literary giants participating in the Librotraficante Caravan include Rudolfo Anaya, whose seminal novel BLESS ME ULTIMA is banned; Denise Chavez, FACE OF AN ANGEL, who is hosting the caravan in Mesilla, N.M., and who organizes the Annual Border Book Festival; Lalo Alcaraz, creator of the syndicated comic LA CUCARACHA and who coined the phrase “Self Deport”; and Rene Alegria, founder of Boxing Badger Media and <span style="color: #1440fc;">www.mamiverse.com</span>, who attended one of the impacted high schools in Tucson. Institutions that have already confirmed to host the caravan include the Guadalupe Cultural Arts Center in San Antonio, Texas, and the National Hispanic Cultural Center in Albuquerque, N.M.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Specific outcomes:</span></div>
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<span class="Apple-style-span" style="font-size: large;">1. Underground Libraries: Librotraficantes will donate copies of the banned books a local nonprofit in Houston, San Antonio, Albuquerque and Tucson. These sites will not only be given copies of the banned titles, but from now on, all multicultural authors are encouraged to mail copies of their books to these sites when they are published, so that our community will always have access to our literature.</span></div>
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<span class="Apple-style-span" style="font-size: large;">2. Teach-ins and a Supplanted Book List: Workshops that include free curriculum guides with literary excerpts and lesson plans that can be used in class and immediately applied to other works.</span></div>
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<span class="Apple-style-span" style="font-size: large;">3. Network of Librotraficantes across the country: This is a case of new media saving the classic media of books. Had Arizona done this ten years ago, we most likely would not have heard about it until it had impacted a second generation of youth. However, because of new technologies and the network of writers and activists who are communicating on multimedia platforms, we were not only able to hear about Arizona’s actions, but to also utilize new media tools to organize some classic activist strategies to respond - from now on!</span></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="color: black;">ORGANIZERS: </span>Tony Diaz<span style="color: black;">, </span>Liana Lopez<span style="color: black;">, </span>Bryan Parras<span style="color: black;">, </span>Lupe Mendez <span style="color: black;">& </span>Laura Acosta</span></div>
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<span class="Apple-style-span" style="font-size: large;">To become a part of history in the making, visit <span style="color: #1440fc;">www.librotraficante.com </span>and click on Donate.</span></div>
</div>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com2tag:blogger.com,1999:blog-5334043744915076910.post-75230996198716997402012-02-12T19:53:00.000-08:002012-02-12T19:53:24.003-08:00El regreso del cine mudo<!--[if gte mso 9]><xml>
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<i><u><br /></u></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjdsbPv1MQ8regC14Vw5_TD7cONZxBO8e_aS9M6SdOoSlu088CAG77ycjswr2XxgYPncS-4j2Cu8f9nwH0seIHyEWCO3rLEje9kBkgMDPZiURuM2y5exDaA5oe19oO3y1UtRWXTWrnve8/s1600/el-artista.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjdsbPv1MQ8regC14Vw5_TD7cONZxBO8e_aS9M6SdOoSlu088CAG77ycjswr2XxgYPncS-4j2Cu8f9nwH0seIHyEWCO3rLEje9kBkgMDPZiURuM2y5exDaA5oe19oO3y1UtRWXTWrnve8/s400/el-artista.jpg" width="400" /></a></div>
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<b>Por Jaime Perales Contreras</b></div>
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<span lang="ES-PA" style="mso-ansi-language: ES-PA;"><i>El artista </i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;">(2011) es una película <i>sui
generis</i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;">. Es muda y
en blanco y negro. Dos elementos que generalmente el cine de hoy omite.
¿Cuántos filmes de este tipo se han realizado en la época moderna? Muy pocos. <o:p></o:p></span></div>
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<span lang="ES-PA" style="mso-ansi-language: ES-PA;">Como ejemplos se pueden encontrar
algunos experimentos, como la película <i>Film (1965),</i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;"> escrita por el premio Nóbel de
literatura Samuel Beckett, y que tenía como protagonista a Búster Keaton;
leyenda del cine cómico mudo y a quien Beckett admiraba profundamente. Se
encuentran también<i> La última locura de Mel Brooks</i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;"> (<i>Silent Movie</i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;">) (1976),<span style="mso-spacerun: yes;"> </span>una<span style="mso-spacerun: yes;">
</span>divertida<span style="mso-spacerun: yes;"> </span>parodia de las
películas cómicas de los veinte, en donde no se escucha, a lo largo de dos
horas, más que una sola<span style="mso-spacerun: yes;">
</span>palabra.<span style="mso-spacerun: yes;"> </span>Hay, asimismo,
algunos directores nostálgicos de la época, como Francis Ford Coppola, George
Lucas y el historiador fílmico </span><span lang="EN" style="color: black; mso-ansi-language: EN;"><a href="http://en.wikipedia.org/wiki/Kevin_Brownlow" title="Kevin Brownlow"><span lang="ES-PA" style="color: black; mso-ansi-language: ES-PA; text-decoration: none; text-underline: none;">Kevin Brownlow</span></a></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;">, que se les ocurrió restaurar <i>Napoleón
(1927),</i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;"> el titánico
e incompleto filme de<span style="mso-spacerun: yes;"> </span>Abel Gance,
e incluir con él un hermoso soundtrack compuesto en 1980 por<span style="mso-spacerun: yes;"> </span>el padre de Francis Ford, Carmine
Coppola. También se dieron algunas adaptaciones musicales pop, como es el caso
de <i>Metrópolis (1927),</i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;"> del director alemán Fritz Lang, que Giorgio Moroder, junto con un
mosaico de canciones de diferentes grupos musicales, compuso para la película
una banda original en 1984.<o:p></o:p></span></div>
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<span lang="ES-PA" style="mso-ansi-language: ES-PA;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><i>El artista</i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;">, realizada por el francés Michel
Hazanavicius no se compara con ninguno de estos ejercicios. Es una
película moderna, un drama, en donde somos testigos del ascenso y caída de una
estrella del cine mudo, a fines de la década de los veinte, cuando ésta es
desplazada por el filme sonoro.<o:p></o:p></span></div>
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<span lang="ES-PA" style="mso-ansi-language: ES-PA;">El director<span style="mso-spacerun: yes;"> </span>de <i>El artista </i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;">vuelve<span style="mso-spacerun: yes;"> </span>a utilizar a los dos actores principales de su primer filme:
Jean Dujardin y Berenice Bejo. Y, aunque la película perdió la Palma de Oro, en
el pasado festival de Cannes, Dujardin ganó el premio como el mejor actor.<o:p></o:p></span></div>
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<span lang="ES-PA" style="mso-ansi-language: ES-PA;">El filme, asimismo, ha sido recibido
con beneplácito por la crítica y por el público debido a que,
inicialmente, se exhibió de manera muy limitada por el temor de la reacción que
se tendría al ver una película muda. <i>El artista </i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;">actualmente cuenta con 10 nominaciones para el
Oscar de la academia, entre las que se incluyen las de <span style="mso-spacerun: yes;"> </span>Dujardin y Bejó para el mejor actor y
actriz respectivamente, y la de mejor película.<o:p></o:p></span></div>
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<span lang="ES-PA" style="mso-ansi-language: ES-PA;">La idea de hacer una película en donde no hubiera sonido, no se había tomado muy enserio. Sin
embargo, las dos parodias sobre los filmes de James Bond, <i>OSS 117: Le Caire
nid d'espions</i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;">, (2006)
y <i>OSS 117: Rio Ne Répond Plus (2009) </i>ambas éxitos internacionales y realizadas por el mismo director</span><span lang="ES-PA" style="mso-ansi-language: ES-PA;">,
hicieron que la situación fuera favorable para producirla. <o:p></o:p></span></div>
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<span lang="ES-PA" style="mso-ansi-language: ES-PA;">Algunos han mencionado que <i>El
artista</i></span><span lang="ES-PA" style="mso-ansi-language: ES-PA;"> podría
reformular el cine para que se vuelvan a realizar películas mudas. Es difícil
de pensar que una sola película pueda cambiar la actitud del cine contemporáneo.
Sin embargo, la idea no deja de<span style="mso-spacerun: yes;"> </span>generar
curiosidad. <span style="mso-spacerun: yes;"> </span>Ya que ver un filme
mudo actualmente es casi como ser un lector de poesía. Sin embargo, la poesía,
aunque con un público menor, tiene sus seguidores y, no se debe de olvidar, que
el género poético fue el precursor de otros parientes artísticos más populares,<span style="mso-spacerun: yes;"> </span>como es la novela. Sin la poesía no
habría literatura y sin el cine mudo, simplemente, no habría cine.<o:p></o:p></span></div>
<!--EndFragment-->rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-8238459784733277792012-01-30T08:00:00.000-08:002012-02-07T06:18:36.489-08:00A Conversation with C.M. Mayo After Translating Madero´s Spiritist Manual<span style="font-family: Arial;"></span><br />
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<span class="Apple-style-span" style="font-family: Arial;"><b>Rose Mary Salum:</b> You decided to translate </span><span class="Apple-style-span" style="font-family: Arial;"><a href="http://www.cmmayo.com/SPIRITISTMANUAL/spiritist-m-download-ebook.html">Francisco I. Madero's <em>Spiritist Manual</em></a></span><span class="Apple-style-span" style="font-family: Arial;"> 100 years after it first was published. What triggered your desire to work on this project when, even at the time the book was released, he was mocked in newspapers as a crazy man who talked until he was blue on the face?</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>CMMayo:</b> The decision was not something I thought out-- it was intuitive, sudden, and strangely compelling. Though I'd been living in Mexico on and off for over two decades, I hadn't given much thought to Madero or the Revolution; my interest in recent years has been the French Intervention (the subject of my novel). What happened was, to make a long story short, I had the opportunity to view Madero's archive in Hacienda (Mexican Ministry of Finance), and when I saw the <em>Manual espírita</em>, I knew it needed to be translated. Before I could stop myself, I offered to do it. Because of my previous research on the French Intervention, I had a keen appreciation for the need to translate basic works. So much history is badly misunderstood or not even acnowledged for want of a translation! And the fact is, Madero was the leader of Mexico's 1910 Revolution and his <em>Spiritist Manual</em>, completed in that same year, though published in early 1911, is a statement of his personal and political philosophy. Ergo, it is a basic document for understanding both Madero himself and the Revolution.</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>RMS:</b> What is your personal opinion on Madero´s beliefs and this book after you´ve gotten so close to it?</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>CMM: </b>I really had a rollercoaster of a ride with this, from thinking he was naive, wise, good, nuts, way ahead of his time, an old fuddy-duddy, heroic, daring... If you were to ask me a year now I might say something very different but right now, January 2012, my take on him and his beliefs is this: I don't think he was crazy; he would not have been able to achieve what he did as a businessman and political leader without his druthers. As for his Spiritism, whatever one may think of it, the fact is it was not something he invented but adopted. (Note: it is similar to but not the same as Spirit<u>u</u>alism.) Though always at the far esoteric margins of mainstream thinking, in the late 19th century when he was studying in France and first took it seriously, Spiritism had developed a large following and the main books by Allen Kardec were all relatively easy to find. (Madero's own father had a subscription to the Spiritist magazine, <em>Revue esprít</em>.) Apart from reading the classics by Kardec (<em>Book of the Spirits, The Book on Mediums,</em> and others), Madero also adopted ideas from Edouard Schuré, who claimed to have relied a Greek medium to channel information about Hermes, Krishna, and Jesus, among other "divine messengers." Much better known in France than in the US or Mexico, Schuré was a close friend of the composer Wagner and also a friend and colleague of Rudolph Steiner, the founder of Anthroposophy and the Waldorf schools. In sum, Madero's <em>Manual Espírita</em> should be considered as a work solidly within European esoteric traditions.</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>RMS:</b> Allow me to pose the same question you ask in your video: can a secret book get its author killed? Why?</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja7eUkaQAxg76p7xotjo9j6yEJ2tKh9HwaPP3E8h3p5AaysxpRp6gJaOFKnW6vSDwj3HVnkSgvpcNzU1DPKKgMJZ76yqWtcM5nY-2nO-udAhpOta3P7oh3qHMQ3UJiReDwNS5-nynX8uI/s1600/madero.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja7eUkaQAxg76p7xotjo9j6yEJ2tKh9HwaPP3E8h3p5AaysxpRp6gJaOFKnW6vSDwj3HVnkSgvpcNzU1DPKKgMJZ76yqWtcM5nY-2nO-udAhpOta3P7oh3qHMQ3UJiReDwNS5-nynX8uI/s320/madero.jpg" width="210" /></a></div>
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<span style="font-family: Arial;"><b>C.M. :</b> I pose it as a question, suggesting that this may have been the case. What we do know is that when Huerta staged the coup and had President Madero arrested, he and U.S. Ambassador Wilson discussed what to do with their prisoner-- put him in a lunatic asylum?I think a good argument can be made that, like many people, Huerta and Wilson held Spiritism in deep contempt and that very contempt made it that much easier to kill Madero. When I say "secret" book I mean it in the sense that Madero tried to keep his identity as author secret by using a pen name, Bhima. But the book itself was not meant to be secret, quite the contrary: it had a print run of 5,000--- very substantial for the time--- and its very purpose was to evangelize. </span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>RMS: </b></span><span class="Apple-style-span" style="font-family: Arial;">What were the consequences of publishing this book at that time?</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>CMM: </b>I don't think there is a definitve answer because I think it is the nature of a book-- a thoughtform in a package (whether paper or digital) that allows it to travel through time and space-- to enter into reader's mind individually and privately. Who actually reads it? When do they read it? Where do they read it? How attentively, and how thoughtfully? I just finished reading <em>War and Peace</em>. Well, how do you know I actually read it? You just have to believe me. And here I am in 2012 in Mexico City-- far from being the reader Tolstoy envisioned when he published it in 1869! But OK, I'll take a flying guess: I think the consequences of Madero's publishing the <em>Spiritist Manual</em> were extremely damaging to his political career and personal prestige because any and all Spiritist activity was extremely disturbing to most people in positions of authority at that time. I should underline here that the Catholic Church considered the seance, a key ritual in Spiritism, to be communing with the Devil and the Vatican had banned all works by Allen Kardec, Spiritsm's founder. For any political leader in Mexico at that time, accepting, never mind espousing Spiritism, was to venture far beyond the pale of the acceptable. That said, Spiritism did have adherents, among them, Ignacio Mariscal, and in France, such well-known intellectuals as Victor Hugo and Flammarion. No doubt, somewhere in Mexico, some people, perhaps a few hundred, read the <em>Manual espírita</em> and found it both convincing and consoling. Perhaps someone else could answer this question better than I can.</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>RMS: </b>You mention in your introduction that Madero´s book is one of the earliest Spanish language manifestos of this new religion. What other books on the same subject were printed in Mexico after that?</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>CMM:</b> I am more familiar with what was published before that, primarily translations of works by Allen Kardec and other French Spiritists. After Madero, Spiritism in Mexico, as in Brazil and the Philippines, has taken on its individual character, mixed in with indigenous and other traditions, over the 20th and into the 21st centuries. <span style="font-family: TimesNewRomanPSMT;"><span style="font-family: TimesNewRomanPSMT;">Apart from Madero himself—and also in a distinctly more rustic vein—El Niño Fidencio is considered Mexico's best known Spiritist, though it would more accurate to say that he was associated with Spiritism. <a href="http://www.cmmayo.com/SPIRITISTMANUAL/Spiritist-Q-AND-A/5-NINO-FIDENCIO.html">I talk about this at length here.</a></span></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>RMS: </b>This is a question from an editor´s point of view: Is there a market for this book in the English speaking language?</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>CMM:</b> There is a market for anything on Madero and the Mexican Revolution in English, albeit a slender one, and this is why I decided to do a digital edition. I have had some interest in the book from Spiritists, but as I have not been connected with that community it is hard for me to gauge. I am thinking about other editions and possibilities; I would like to see it in paper with a proper spine.</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>RSM: </b>How has your experience been so far with your first<a href="http://www.cmmayo.com/SPIRITISTMANUAL/spiritist-m-download-ebook.html"> eBook</a>?</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>CMM:</b> After having published several books with various pubishers, it was wicked fun to design the covers and the website without having anyone second guess or even block my choices. On the other hand, I have a renewed appreciation for the sometimes ginormous amount of tedious work editors and marketing staff do for a book. It's encouraging to see how quickly and easily one can sell a book on amazon.com, however. I am also thrilled to see what iBooks are turning into--- much more interesting than amazon's Kindle. </span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>RSM</b>: Will you publish more eBooks?</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>CMM</b>: Yes, and in fact I have two almost ready right now-- a short story, "Manta Ray," and Marie de la Fere's <em>My Recollections of Maximilian</em>, a brief eyewitness memoir of Maximilian von Habsburg. Right now the way I see it, each book has its own destiny: some may be best off placed with a commercial publisher, while others may be best self-published, and perhaps only digitally. What's exciting is that with the very low cost of digital publishing, so many books that would not have been feasible to publish can now come out of their boxes and drawers and musty old archives. As a reader, I am in heaven!</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>RSM:</b> Could you advise our readers when and where to get this and the other books you plan to launch?</span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><b>CMM:</b> The website for my publishing endeavors is <a href="http://www.dancingchiva.com/">www.dancingchiva.com</a> The ebooks are available on amazon.com's Kindle and will also be available soon as iBooks on iTunes. I also post links and information about all my works on my website, <a href="http://www.cmmayo.com/">www.cmmayo.com</a></span></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/AA4e0mWeIb8" width="420"></iframe>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-71789765444807795862012-01-23T22:20:00.000-08:002012-01-23T22:38:15.090-08:00Behind The Scenes in The Launching of the Latin American Digital Archives<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBGPGM7E_XTcfBg5sI80haX7IEwa3KR_J6Roz5V289XWqfWD13EqVd_senE2MrzSDr6oBhsQrEBaLZeKV_2SySrl86At_0nK5uE_OOG3m3UYIknYF6LTaJwQMfsGHJUriMFDhSTrdZMiA/s1600/13.+Reticularea.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBGPGM7E_XTcfBg5sI80haX7IEwa3KR_J6Roz5V289XWqfWD13EqVd_senE2MrzSDr6oBhsQrEBaLZeKV_2SySrl86At_0nK5uE_OOG3m3UYIknYF6LTaJwQMfsGHJUriMFDhSTrdZMiA/s400/13.+Reticularea.jpg" width="400" /></a><span style="font-family: 'Times New Roman';">Houston Jan 20.- The MFAH along with the ICAA organized a <a href="http://youtu.be/IupHfH8ZReI">colloquium</a> about the arts to celebrate the launching of the <a href="http://icaadocs.mfah.org/icaadocs/">Latin American Digital Archives</a>. For the first time in history, we will have free access to more than 10, 000 documents about Latin American Art and Latino Art. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';">The mission of the ICAA, which was established in 2001 at the MFAH, is to pioneer research of the diverse artistic production of Latin American and Latino artists—from Mexico, Central and South America, the Caribbean, and the United States.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';">Literal had the opportunity to talk with some of the organizers, participants and curators who, behind the scenes, made this historical event possible.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt;">Gego
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<span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt;"><i>Reticulárea</i></span><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt;">, 1975<o:p></o:p></span></div>
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<span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt;">Gift
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<span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US;">© Fundación Gego</span><!--EndFragment-->rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-89765476527116075102012-01-11T13:16:00.000-08:002012-01-19T19:59:35.754-08:00Landmark Digital Archive of 20th-Century Latin American and Latino Art Launches in 2012<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxziIFgWokQTnYrvbcALz4y68155e1vtRuM0cXWKYo1xn3_0sthQuR8XzMW0P3FJcnRz-5eb3q6Cmel2z6A_tdo1k0MQKqsQM2mQeRNVkX7ukarRLMcZpqraTAAWWR7q5zrIJTdp3qQKY/s1600/Azulejos+cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxziIFgWokQTnYrvbcALz4y68155e1vtRuM0cXWKYo1xn3_0sthQuR8XzMW0P3FJcnRz-5eb3q6Cmel2z6A_tdo1k0MQKqsQM2mQeRNVkX7ukarRLMcZpqraTAAWWR7q5zrIJTdp3qQKY/s320/Azulejos+cover.jpg" width="235" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">The Museum of Fine Arts, Houston, and its research institute, the International Center for the Arts of the Americas (ICAA), have devoted ten years and $50 million to initiatives in 20<span style="font: normal normal normal 8px/normal 'Times New Roman';">th</span>-century Latin American and Latino art. In January 2012, the MFAH and ICAA has launched a <a href="http://icaadocs.mfah.org/icaadocs/">digital archive</a> of some 10,000 primary-source materials, culled by hundreds of researchers based in 16 cities in the U.S. and throughout Latin America. The <a href="http://icaadocs.mfah.org/icaadocs/">online archive</a> is available worldwide, free of charge, and is intended as a catalyst for the future of a field that has been notoriously lacking in accessible resources. The phased, multi-year launch begins with 2,500 documents from Argentina, Mexico and the American Midwest, capping the 10<span style="font: normal normal normal 8px/normal 'Times New Roman';">th</span>- anniversary year for the Latin American program. Documents from other countries and communities will continue to be uploaded and made available. The first volume in a companion series of 13 annotated books will be published with the archive launch, with subsequent volumes in the series published annually.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">The online archive is rich in artists’ writings, correspondence and other unpublished materials, as well as in texts published in newspapers and period journals by artists, critics, scholars and others who have played a vital role in shaping the cultural fabric of the countries and communities where the Documents Project has had a presence. The material brings to life the ferment of international cultures, ideas and personalities that swept across 20<span style="font: normal normal normal 8px/normal 'Times New Roman';">th</span>-century South America, the Spanish-speaking Caribbean and Latino communities in the United States as artists, writers and intellectuals sought to define or challenge notions of a national art; art movements emerged in response to changing local political regimes, as well as to what was perceived as the onslaught of North American culture; and the contribution of Latin American artists to the early stages of global avant-garde movements. The archive also highlights the common interests and affinities shared by Latin artists working in North and South America, allowing for first-hand comparative studies of these broad-based, highly heterogeneous groups. Documents from Brazil, Chile, Colombia, Peru, Puerto Rico, Venezuela and the United States will continue to beadded to the website over the next three years, with the entire selection of holdings to date available by 2015. As the ICAA research initiatives progress, the website will continue to develop in perpetuity, making it an indispensable provider of Latin American and Latino primary-source documents.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">"Latin American art can now fully become part of the worldwide discussion of Modernism. For graduate students especially, this project will be of immense use and interest,‖ commented Dr. Edward Sullivan, The Helen Gould Sheppard Professor of the History of Art, New York University, and advisor to the Documents Project. The access to material written at the moment when the art was happening is a major tool to understand the development of artistic movements in Latin America. This project has the potential to integrate the lost chapter of Latin American art into the discipline of art history as it is taught at Western universities."</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">"This project is just the beginning of the effort to recover the intellectual production of 20<span style="font: normal normal normal 8px/normal 'Times New Roman';">th</span>-century Latin American artists, critics and </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">curators and to further research and awareness of this production in the United States and elsewhere,‖ said Mari Carmen Ramírez, MFAH curator and ICAA director. </span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">"It will be up to future scholars to really make something out of this project and to continue to build what could truly be an amazing resource for the long-term development and consolidation of the field."</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">"The ICAA Documents archive and book project is unprecedented in its scope and depth,‖ said MFAH interim director Gwendolyn H. Goffe. ―The research teams have included the artistic production from countries that have been overlooked, opening up whole new avenues of scholarly investigation to as broad an audience as possible."</span></div>
<br />rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com0tag:blogger.com,1999:blog-5334043744915076910.post-69496545550359954782012-01-11T13:05:00.000-08:002012-01-19T20:01:02.985-08:00El archivo digital de arte latinoamericano del siglo XX<br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">E</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">l Museo de Bellas Artes de Houston (Museum of Fine Arts Houston - MFAH) y su instituto de investigación, el Centro Internacional para las Artes del Continente (International Center for the Arts of the Americas -ICAA), han dedicado diez años y 50 millones de dólares a iniciativas referidas al arte latinoamericano y de origen latino en los EE.UU. del siglo XX. En enero de 2012, el MFAH y el ICAA han lanzado un <a href="http://icaadocs.mfah.org/icaadocs/">archivo digital</a> con más de diez mil facsímiles de fuentes primarias, seleccionadas por cientos de investigadores con sede en 16 ciudades de Estados Unidos y de Latinoamérica. El <a href="http://icaadocs.mfah.org/icaadocs/">archivo digital </a>está disponible a nivel mundial, sin costo alguno y su objetivo es servir como catalizador para el futuro de un campo de estudio que ha carecido notablemente de acceso a fuentes primarias de información. Este lanzamiento se realizará en varias etapas escalonadas durante los próximos años. A partir del 2012, el archivo contará con 2.500 documentos de Argentina, México y la región norte- centro de Estados Unidos. Los documentos provenientes de otros países y comunidades se agregarán paulatinamente. El primer tomo de una serie de 13 antologías que acompañarán esta iniciativa será publicado junto con el lanzamiento del archivo, sumándose cada año un nuevo tomo a la serie.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">El archivo disponible en Internet consta de escritos de artistas, correspondencias y material inédito así como textos publicados en revistas y periódicos por artistas, críticos, eruditos y personalidades que jugaron un papel vital en la formación del ámbito cultural de los países y comunidades donde el proyecto de Documentos ha estado presente. El material recopilado deja en evidencia el momento cumbre de las corrientes internacionales, ideas y personalidades que destacaron durante el siglo XX en Sudamérica, los países de habla hispana del Caribe y el ámbito latino en los Estados Unidos en la medida que los artistas, escritores e intelectuales buscaron definir o desafiar las nociones de un arte nacional. Además estos documentos rebasan temas tan variados como los movimientos artísticos que emergieron como respuesta de cambio a los regímenes políticos locales, así como a lo que fue percibido como la invasión de la cultura de América del Norte y la contribución de artistas latinoamericanos a las primeras etapas de los movimientos mundiales de vanguardia que dieron como resultado manifestaciones artísticas originales. El archivo también destaca el interés común y las afinidades compartidas por los artistas Latinos que trabajaron en Norte y Sudamérica, lo que permite realizar estudios comparativos entre estos grandes grupos altamente heterogéneos y con sedes en diferentes lugares del continente. En los próximos tres años se agregarán al sitio de Internet documentos de Brasil, Chile, Colombia, Perú, Puerto Rico, Venezuela y Estados Unidos. La selección completa de material estará disponible para el año 2015. A medida que las iniciativas de investigación de ICAA progresen, el sitio de Internet continuará su desarrollo indefinidamente, convirtiéndose así en un proveedor indispensable de documentos de primer orden del arte latinoamericano y de origen latino en Estados Unidos.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq_jj3p__A1WkI9QoHSyeOBuP-kyJRUe9s7cNOMNsFRbtzOm0Wf1Yihl5z1UYbpG-bomeaDJp7_hd9FTsVEVclpDKd0ls-BEsvo8_KRQWmF2cqQViNzNMdNaKVv0y-XUGMrViTuQxTgW8/s1600/Merida_+Cuestiones+de+arte+moderno.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq_jj3p__A1WkI9QoHSyeOBuP-kyJRUe9s7cNOMNsFRbtzOm0Wf1Yihl5z1UYbpG-bomeaDJp7_hd9FTsVEVclpDKd0ls-BEsvo8_KRQWmF2cqQViNzNMdNaKVv0y-XUGMrViTuQxTgW8/s320/Merida_+Cuestiones+de+arte+moderno.jpg" width="237" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">“Ahora el arte latinoamericano puede incluirse completamente dentro de la discusión sobre el modernismo a nivel mundial. Especialmente para los estudiantes de posgrado, este proyecto será de inmensa utilidad e interés”, comentó el doctor Edward Sullivan, profesor de historia del arte de la Universidad de Nueva York (The Helen Gould Sheppard Professor) e integrante de la Junta Editorial del Proyecto de Documentos. “El acceso al material escrito en el momento en que se producía el arte es una gran herramienta para entender el desarrollo de los movimientos artísticos en Latinoamérica. Este proyecto tiene el potencial de integrar el capítulo olvidado del arte latinoamericano en la disciplina de la historia del arte como se enseña en las universidades occidentales”.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">“Este proyecto es sólo el comienzo de un esfuerzo por recuperar la producción intelectual de los artistas, críticos y curadores latinoamericanos del siglo XX, para ampliar la investigación y conocimientos de estas producciones en Estados Unidos y el mundo”, aseguró Mari Carmen Ramírez, curadora del MFAH y directora del ICAA.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">“En el futuro, quedará en manos de los estudiantes y académicos sacar provecho de este proyecto y continuar sumando material para construir algo que podría ser, verdaderamente, una fuente invaluable para el desarrollo y consolidación a largo plazo de este campo [de estudio]”.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">“El archivo del Proyecto de Documentos del ICAA y el proyecto editorial no tienen precedentes en su alcance y profundidad”, dijo Gwendolyn H. Goffe, directora interina del MFAH. “Los equipos de investigación han incluido la producción artística de países que habían sido pasados por alto, abriendo nuevas vías de investigación académica a una audiencia tan amplia como sea posible.”</span></div>
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<br /></div>rose mary salumhttp://www.blogger.com/profile/06728982494916401998noreply@blogger.com2