Podcasts about David Alfaro Siqueiros

About Tere Derbez Tere Derbez was born in Mexico City, has her art studio at San Miguel de Allende, Guanajuato, and Scottsdale, Arizona; since she was a child, she has showed her love for painting. As a teenager she began her studies at the Institute of Fine Arts of San Luis Potosí, where she cultivated a deep friendship with teacher Raúl Gamboa, a contemporary of Diego Rivera, David Alfaro Siqueiros, and Rufino Tamayo, and from whom she learned the basics of drawing and the secrets of painting, and whom Tere Derbez considers her mentor.  However, her interest in painting and writing never ceases. Since 1995, she has dedicated her full time to her passion; painting and writing, always looking for new forms and techniques of expression. Her painting style leads towards surrealism, having Remedios Varo and Leonora Carrington as role models. She describes herself as a passionate woman who loves all her experiences, recognizing that in the face of people, essentially in their eyes, their soul is reflected. She believes that at this time Mexico needs a new stream of artists that need support to be able to dedicate themselves fully to the creation of their works.  As a writer, she writes weekly in two newspapers in Mexico: El Sol de San Luis y Del Bajio, and monthly in Hominis Magazine. She has written two books of poems, and the novel «El Ángel de Sofía». She also has a foundation called «El Ángel de Sofía», which is focused on helping young people and adults from marginalized areas, to help to realize their dreams of life by promoting education, art and sports. The foundation puts special attention on the area of mental health. Tere currently collaborates in the Huasteca Potosina and the Sierra Tarahumara as well as in San Luis Potosí, where a Cultural Program was started and a «Cultural and Arts Center» was created in an abandoned market.  Episode Notes  00:00 Intro  07:12 Lesson 1: Life starts with family, and it ends with you  10:45 Lesson 2: How to overcome difficulties in life as a single parent  16:07 Lesson 3: Not everything that shines is made of gold  18:03 Lesson 4: Seven jobs will bring you 9 misfortunes  20:29 Lesson 5: Don't expect anything from anyone  23:45 Affiliate Break  24:35 Lesson 6: Don't control, let it go  29:14 Lesson 7: Love is all you need  32:38 Lesson 8: Learn how to use your energy  36:45 Lesson 9: How to love your life as you grow older  40:39 Lesson 10: The importance of Mindfulness   

• Mejoras en FOVISSSTE: Se anunciaron medidas para reducir, congelar, quitar y condonar deudas de los trabajadores del Estado, con un enfoque particular en maestras y maestros. Estas medidas serán retroactivas al 1 de enero de 2025 y se contactará directamente a los beneficiarios.• Fondo de Pensiones para el Bienestar: Se explicó que este fondo, creado por el Presidente Andrés Manuel López Obrador en 2024, beneficia no solo a los trabajadores del IMSS sino también a los afiliados al ISSSTE, complementando sus pensiones hasta alcanzar el monto de su último salario, con un límite de 17 mil 364 pesos mensuales en 2025.• Monitoreo de Precios: La Profeco presentó el informe "Quién es quién en los precios" para la gasolina, destacando estaciones con precios justos y aquellas que venden caro. También se informó sobre los precios de la canasta básica y se recomendó comprar frutas y verduras en mercados locales.• Congelamiento de Edad para Jubilación: Se mencionó la propuesta de congelar la edad mínima de jubilación para quienes aún están en el régimen solidario del ISSSTE (58 años para hombres y 56 para mujeres), y se está revisando la parte legal para implementarlo sin modificar la ley.• Caso Siqueiros: Se abordó una petición desde Argentina relacionada con una obra inédita del pintor David Alfaro Siqueiros, solicitando la intervención de investigadores mexicanos para verificar su autenticidad.

En Hoy es Risco del martes 5 de noviembre desde Washington D.C. en la cobertura especial de Grupo Fórmula desde Estados Unidos, Javier Risco habló con Victoria Saeki, estudiante de doctorado en Historia en Georgetown y ganadora del Premio Gruber de Rice University, quien destacó la importancia del uso de las redes sociales en la campaña presidencial. Los demócratas y Kamala Harris se conectaron los jóvenes y los republicanos se basaron más en Twitter por el apoyo de Elon Musk. Con Lila Abed, Directora del Instituto México del Wilson Center, conversó de los temas más importantes en la campaña electoral: México, la migración y la relación comercial. Lorena Becerra, experta en encuestas y analista política, comentó que toda la atención en los estados llamados bisagra porque ahí las encuestas tuvieron un margen de error muy amplio. Carolina del Norte, Georgia, Michigan y Wisconsin, los estados en que se debe poner más atención esta noche. Con Juan Pablo Villallobos, en su sección “No voy a pedirle a nadie que lea”, comentaron la obra Kurt Vonnegut (1922-2007), escritor pacifista de Estados Unidos, fue prisionero en la Segunda Guerra Mundial y toda su obra tiene que ver con esa experiencia. En la sección “Hablarte” con Amanda de la Garza, hablaron sobre David Alfaro Siqueiros, quien fundó en Nueva York un taller experimental, que estaba muy politizado y luchaba en contra del fascismo en medio de la Segunda Guerra Mundial..

On this episode of Recurrent, Jaime Roque explores the hidden story of América Tropical, a mural painted by Mexican artist David Alfaro Siqueiros in 1932 on Olvera Street, Los Angeles. Commissioned to depict an idyllic tropical scene, Siqueiros instead delivered a politically charged image featuring a crucified indigenous figure overshadowed by an American eagle, sparking immediate controversy and eventual censorship. Jaime interviews local historians and community members, delving into the mural’s impact on cultural identity and its role in inspiring the Chicano mural movement. As Jaime walks through Boyle Heights, he discusses the effects of gentrification and mural whitewashing with local poet and activist Viva Padilla, emphasizing the ongoing struggle to preserve cultural heritage. Reflecting on how public art serves as both a canvas for resistance and a means of education, Jaime and his guests explore the resilience of cultural memory in urban spaces. This episode not only uncovers the story of a censored artwork but also invites listeners to consider the broader implications of art in shaping and maintaining community identity.

En este episodio hablamos de una mujer que fue la musa de muchos grandes del movimiento mural mexicano, como Diego Rivera, Clemente Orozco y David Alfaro Siqueiros, entre otros más. Es una mujer que además de posar para sus pinturas, también les supo enseñar y transmitir los sentimientos de las culturas indígenas, mismos que pudieron ser plasmados en las grandes obras. Una mujer que es poco conocida pero su imagen ha sido muy reproducida. Doña Luz Jiménez ¡Gracias por escucharnos! ¡Si aun no lo haces, suscríbete y deja tu pulgar arriba, para nosotros es muy importante! ¡Episodio nuevo cada lunes! Los invitamos a que comenten y manden sus saludos, leemos todos los comentarios y hacemos un video respondiendolos. ¡Entra al grupo de histeriadores en facebook donde ustedes podrán compartir contenido! https://www.facebook.com/groups/histeriadoresdemexico Nuestras cuentas personales: Diana Grijalva https://www.instagram.com/_dianasinh Omar Benítez. https://www.instagram.com/soyomar.bntz Mariano Pérez. https://www.instagram.com/meapodanmarin ¿Ya sigues a nuestra productora Público Difícil? No es tan difícil. Te dejamos el enlace: https://www.instagram.com/publicodificilproductora ¡Sigue a La Histeria De México en todas las redes! Instagram: https://www.instagram.com/lahisteriademexico Facebook: https://www.facebook.com/LaHisteriaDeMexico Spotify: https://open.spotify.com/show/2p3iNUfuxdfOBINW0UiXAe Apple podcast: https://podcasts.apple.com/mx/podcast/la-histeria-de-m%C3%A9xico/id1564666592 Google podcast: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy81NjYyNGQ1NC9wb2RjYXN0L3Jzcw?sa=X&ved=2ahUKEwjcl9f0nvPwAhWWmJ4KHWnYB9cQ9sEGegQIARAC

Editor's note: An earlier version of this episode ran in March 2021 and has been updated with a new introduction. Historically, street art has been used as a powerful tool for community engagement thanks to its ability to transcend physical and social boundaries. In today's special podcast episode, guest host and muralist Erin Yoshi sits down with public arts luminary Judy Baca to discuss the painter's pioneering social work in the urban environment of L.A., the former “mural capital of the world.”“Long before the predominance of graffiti art on the street, there were writings on the street," says Judy. “There was no control over who could paint where, and it was in that climate—1972—that I stepped out onto the street.” Soon after, In 1974, Judy founded the City of Los Angeles' first mural program, which produced over 400 murals, employed thousands of local participants, and eventually evolved into the Social and Public Art Resource Center (SPARC), where she continues to serve as artistic director. “The work I was doing needed to be institutionalized in educational systems,” she says. “There was so much work to be done around the kind of training that we needed to get another generation of artists into the world, to [give] another generation of young people the stepping stones to advance, and [without] having to start at the very beginning, as I did. So it became increasingly important to me to do the teaching, to see SPARC thrive and continue.”Judy attributes SPARC's success to their unique participatory model, which allows community members to contribute their ideas and talents to local murals. “I was interested in a participatory methodology that not only included the ideas of the people but included them in the process of the making,” says Judy, who observes a vast cultural distinction between murals in different L.A. neighborhoods. “Whose memories are saved?” she muses. “Whose stories are told? Whose history is taught? That became a quest that has been my life's work: the land's memory, whose stories are told and remembered, and how we come up with the real story of America.”Key Points From This Episode:Insight into Judy's start as a muralist in LA, the former “mural capital of the world.”How permitting and bureaucratic control have hindered the creative process of public art.Ways that SPARC sought to change the face of LA by representing the people in it.The genesis of SPARC and what Judy's cross-cultural vision for it entailed.Judy's unifying ambition to excavate unknown stories that led to The Great Wall of LA.What she learned about dynamic imagery from the late great David Alfaro Siqueiros.Steps for creating a participatory community-based project like The Great Wall.Relationships built during the creation of The Great Wall that are still intact today.The drive to institutionalize her work that led Judy to become a professor at UCLA.Why she decided early on that she wouldn't try to “make it” in the world of fine art.Unpacking the hierarchy of the arts that deems community art “low brow.”Reasons that The Great Wall is so critical at a time of heightened awareness of injustice.How SPARC has become a modern marvel with an inspiring heritage.The future of women's leadership that Judy's Matriarchal Mural addresses.For more information, please visit http://notrealart.com/judy-baca

Listen to a panel discussion led by Antonia Cereijido (she/her), host of the Imperfect Paradise podcast from LAist Studios about artist David Alfaro Siqueiros' popular Olvera Street mural "América Tropical". Full Event Info: Here Guests: José Figueroa (he/him), filmmaker, co-founder - Dignicraft Oscar Magallanes (he/him), artist, co-founder - 3B Collective Rebecca Zamora (she/her), independent scholar, arts professional  (Recorded live on Oct. 3, 2023) Watch full episodes at Pbssocal.org/Artbound or the free PBS app.

El palacio negro de Lecumberrie fue una provino mexicana de las más modernas he innovadoras de su época, en la cual estuvieron presos, personajes como Juan Gabriel, David Alfaro Siqueiros y muchos más, también fue grabada una película de Pedro Infante y fue la cárcel con más reos, más de 5,000 personas estañaban recluidas, hombre, mujeres y niños. #ZonaObscuraAlaMediaNoche #LibranosDelMal #DulcesPesadillas #ObscureFans. @Jupe102 @MamaSoulBlanck @Locutor_Mx --- Support this podcast: https://podcasters.spotify.com/pod/show/zona-obscura-a-la-media-n/support

In this episode, Wes and Todd visit with Chicano Muralist, Leo Tanguma. Leo talks about growing up in Beeville, Texas and what set him on his path to becoming an artist, meeting the great Muralist, David Alfaro Siqueiros, and how it influenced his work, and discusses some of his incredibly powerful and significant murals like "Rebirth of Our Nationality".Join us for this fantastic episode with Leo Tanguma, Artist, Muralist, and Sage, as he recounts stories about his life, gives us some history lessons and imbues us with his words of wisdom. Follow Leo Tanguma on social media:On Facebook www.facebook.com/ArtistLeoTanguma/

Un poco tarde pero... Ya se encuentran disponibles la reacción a comentarios de nuestro episodio 55 David Alfaro Siqueiros.

Para la segunda parte de este episodio de David Alfaro Siqueiros nos acompañó nuestro amigo Olvera nuevamente. Hablamos sobre algunas de sus más grandes pinturas tanto en México como en estados unidos, de su paso por la prisión, de sus amores y participaciones en batalla. ¡Gracias por escucharnos! ¡Si aun no lo haces, suscríbete y deja tu pulgar arriba, para nosotros es muy importante! ¡Episodio nuevo cada lunes! Los invitamos a que comenten y manden sus saludos, leemos todos los comentarios y hacemos un video respondiendolos. Te recomendamos que sigas la página de Dibujos Piteros con muchos memes que seguro te van a gustar: https://www.facebook.com/profile.php?id=100075866211074 ¡Entra al grupo de histeriadores en facebook donde ustedes podrán compartir contenido! https://www.facebook.com/groups/histeriadoresdemexico Nuestras cuentas personales: Christian Olvera. https://www.instagram.com/sr.olvera Diana Grijalva. https://www.instagram.com/_dianasinh Omar Benítez. https://www.instagram.com/soyomar.bntz Mariano Pérez. https://www.instagram.com/meapodanmarin ¿Ya sigues a nuestra productora Público Difícil? No es tan difícil. Te dejamos el enlace: https://www.instagram.com/publicodificilproductora ¡Sigue a La Histeria De México en todas las redes! Instagram: https://www.instagram.com/lahisteriademexico Facebook: https://www.facebook.com/LaHisteriaDeMexico Spotify: https://open.spotify.com/show/2p3iNUfuxdfOBINW0UiXAe Apple podcast: https://podcasts.apple.com/mx/podcast/la-histeria-de-m%C3%A9xico/id1564666592 Google podcast: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy81NjYyNGQ1NC9wb2RjYXN0L3Jzcw?sa=X&ved=2ahUKEwjcl9f0nvPwAhWWmJ4KHWnYB9cQ9sEGegQIARAC

Disponible la reacción a comentarios del episodio 54 David Alfaro Siqueiros

Hey friends, I have a show that I'd like to share with you today. It's right up my personal alley--so much so that I made a similarly-themed season of ArtCurious a few years back. Today it's a pleasure to introduce you to The Art of Crime.  The Art of Crime is a history podcast about the unlikely collisions between true crime and the arts--created, written, and narrated by Gavin Whitehead. Gavin notes that he has had an interest in things criminal and artistic for as long as he can remember, and this podcast is the perfect intersection of those two fascinations. The show is now in its second season and is all about several artists who have committed, attempted, or at least been implicated in an assassination. This episode today is all about the painter David-Alfaro Siqueiros. A diehard Communist, Siqueiros fought in the Mexican Revolution in the mid-1910s. Over the next several decades, he would revolutionize the theory and practice of muralism in Mexico and abroad, largely inspired by his radical politics. In 1940, his political convictions led to a less honorable enterprise when he spearheaded an assault on the home of Russian revolutionary Leon Trotsky as he and his family slept in their beds.  Enjoy-- and I'll be back to you next week with an all-new episode of ArtCurious. Learn more about your ad choices. Visit podcastchoices.com/adchoices

En esta ocasión nos acompaña nuestro amigo Olvera y haremos un pequeño homenaje a uno de los máximos representantes del muralismo mexicano que formó parte del grupo conocido como ‘'los tres grandes''. Un hombre con temperamento aguerrido que siempre estuvo convencido de que a la población mexicana de du época, en su gran mayoría analfabetas, se les podía dar una formación y cultura popular a través del arte. Les presentamos en esta ocasión al maestro David Alfaro Siqueiros ¡Gracias por escucharnos! ¡Si aun no lo haces, suscríbete y deja tu pulgar arriba, para nosotros es muy importante! ¡Episodio nuevo cada lunes! Los invitamos a que comenten y manden sus saludos, leemos todos los comentarios y hacemos un video respondiendolos. Te recomendamos que sigas la p+ágina de Dibujos Piteros con muchos memes que seguro te van a gustar: https://www.facebook.com/profile.php?id=100075866211074 ¡Entra al grupo de histeriadores en facebook donde ustedes podrán compartir contenido! https://www.facebook.com/groups/histeriadoresdemexico Nuestras cuentas personales: Christian Olvera. https://www.instagram.com/sr.olvera Diana Grijalva. https://www.instagram.com/_dianasinh Omar Benítez. https://www.instagram.com/soyomar.bntz Mariano Pérez. https://www.instagram.com/meapodanmarin ¿Ya sigues a nuestra productora Público Difícil? No es tan difícil. Te dejamos el enlace: https://www.instagram.com/publicodificilproductora ¡Sigue a La Histeria De México en todas las redes! Instagram: https://www.instagram.com/lahisteriademexico Facebook: https://www.facebook.com/LaHisteriaDeMexico Spotify: https://open.spotify.com/show/2p3iNUfuxdfOBINW0UiXAe Apple podcast: https://podcasts.apple.com/mx/podcast/la-histeria-de-m%C3%A9xico/id1564666592 Google podcast: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy81NjYyNGQ1NC9wb2RjYXN0L3Jzcw?sa=X&ved=2ahUKEwjcl9f0nvPwAhWWmJ4KHWnYB9cQ9sEGegQIARAC

A diehard Communist, David Alfaro Siqueiros fought in the Mexican Revolution in the mid-1910s. Over the next several decades, he would revolutionize the theory and practice of muralism in Mexico and abroad, largely inspired by his radical politics. In 1940, his political convictions led to a less honorable enterprise when he spearheaded an assault on the home of Russian revolutionary Leon Trotsky as he and his family slept in their beds.     Show notes and full transcripts available at www.artofcrimepodcast.com.   If you'd like to support the show, please consider becoming a patron at www.patreon.com/artofcrimepodcast.   The Art of Crime is part of the Airwave Media network. To learn more about Airwave, visit www.airwavemedia.com. If you'd like to advertise on The Art of Crime, please email advertising@airwavemedia.com. You can take the Airwave listener survey at surveymonkey.com/r/airwave.

El dramaturgo y director de obras de teatro Miguel Sabido habla sobre su proyecto de museo virtual—bautizado con su propio nombre—y la búsqueda de la preservación del arte que recupera. El dramaturgo asegura que servirá para preservar la obra de artistas indígenas. En el museo virtual se podrán encontrar trabajos de Rufino Tamayo y David Alfaro Siqueiros. Este museo es completamente financiado por Sabido, pues no cuenta con ningún presupuesto o apoyo del gobierno. El acceso al museo será gratuito a través de su sitio oficial y el lanzamiento será el 22 de noviembre.

El 24 de octubre se realizó una movilización desde metro Copilco, CCH Sur y diferentes Facultades de Ciudad Universitaria para llegar a la explanada frente a la Torre de Rectoría. Se manifestaron por la violación de una estudiante del CCH Sur, ocurrida dentro del baño de las instalaciones de la escuela. Dentro de su pliego petitorio se encontraba la destitución de la de directora Susana Lira y del personal jurídico que se encarga de la demanda. Las encapuchadas del Bloque Negro bajaron la bandera de la explanada, la rompieron, bailaron y dibujaron sus cuerpos sobre ella para después quemarla. También realizaron pintas en una parte inferior del mural de David Alfaro Siqueiros ubicado en CU.

Hollie Cook: se presentará el 02 DE OCTUBRE en C3 ROOFTOP para darnos un concierto lleno de dub, reggae, rock y su estilo inconfundible! Willy Kautz: Museo Cabañas continúa celebrando el Centenario del Muralismo Mexicano, y este sábado 24 de septiembre invita a la apertura de la exposición David Alfaro Siqueiros. La construcción de lo público. Conducción: Begoña Lomelí y Juan Pablo Ballcels Producción: Armando Tiburcio Sistema Jalisciense de Radio y Televisión Escucha la música del día dando clic aquí Visita: www.jaliscoradio.com Edición: Lupita Jiménez Fecha: 29 de Septiembre 2022

Germán Martínez y Alma Espinosa reciben al dramaturgo, escritor, catedrático y director de cine, teatro y televisión mexicano, Flavio González Mello. Ha recibido varios reconocimientos, entre los que se encuentran el Premio Ariel 2006 de la Academia Mexicana de Artes y Ciencias Cinematográficas por el mediometraje Domingo siete, el Premio de Dramaturgia Juan Ruiz de Alarcón 2011, por la solidez de sus obras teatrales y el Danzante de Oro en la Sección Iberoamericana del 37º Festival de Cine de Huesca, España por el cortometraje 40 grados a la sombra Trostky. El Hombre en la encrucijada es un drama musical sobre el asesinato del revolucionario ruso León Trotsky en México en agosto de 1940 y su relación con los artistas e intelectuales mexicanos de los años treinta, particularmente con los pintores Diego Rivera, Frida Kahlo y David Alfaro Siqueiros.

La madrugada del 25 de mayo de 1940, un comando armado de encapuchados allanó el domicilio del célebre revolucionario ruso, León Trotsky, sometieron a los vigilantes, llegaron hasta la puerta de su recámara y abrieron fuego contra él.De inmediato las corporaciones policiacas capitalinas tomaron el caso, para dar con los perpetradores del terrible atentado,en el que Trotsky, su esposa e hijo, se salvaron de forma milagrosa.En menos de un mes, se supo que el célebre pintor David Alfaro Siqueiros estuvo detrás del atentado; la policía capturó a los involucrados y el caso se cerró. Meses más tarde, el 20 de agosto de 1940, Trotski sufrió un segundo atentado en esa misma casa, que le costó la vida.Puedes conocer más de este y otros casos en los Archivos secretos de La Prensa. Hosted on Acast. See acast.com/privacy for more information.

Artist Scott Bowe has long been inspired by the ocean. He spent his formative years enjoying summers at the coastal Maine property his great grandfather acquired. As a college student, he participated in the Semester at Sea program, where he expanded his senses as he traveled around the world.  It wasn't until he was pursuing an acting career in Los Angeles that Scott began to experiment with art. He adopted a method of painting first created by Mexican artist David Alfaro Siqueiros, who developed a process called acrylic flow painting, or acrylic pour painting, in the 1930's. This technique allowed him to explore themes of aquatically-inspired movement and constant change. Join our conversation with Scott Bowe on this episode of Radio Maine with Dr. Lisa Belisle.

Arte y política son los fundamentos de la vida de Josep Renau. Pintor, fotomontador y muralista, exploró las vanguardias artísticas del siglo XX desde la óptica del compromiso social y su militancia comunista. Josep Renau comienza su camino artístico en su Valencia natal. Con trece años ingresa en la Escuela de Bellas Artes de San Carlos y, después, gracias a un trabajo en un taller de litografía, se introduce en el mundo de la cartelería y la ilustración gráfica. También desde muy pronto siente su compromiso político; rechaza el arte elitista y aboga por que se acerque a la gente. Empieza a relacionarse con grupos anarquistas y, finalmente, en 1931 ingresa en el Partido Comunista al que será fiel toda su vida. Se desarrolla influido por el dadaísmo y el surrealismo y gana algunos concursos de carteles. Pero serán los trabajos del fotomontador alemán John Hartfield los que le muestren cómo el arte puede contribuir a la transformación social. Al poco de comenzar la Guerra Civil, Renau es nombrado director general de Bellas Artes. Organiza el traslado de las obras del Museo del Prado a las Torres de Serrano en Valencia, dentro de la operación de salvamento del Tesoro Histórico-Artístico Español. Poco después viaja a París para la realización del Pabellón Español de la Exposición de París de 1937. Allí propone a Picasso la realización de la obra central, lo que finalmente será el Guernica. Tras la guerra se exilia en México donde crea, junto al artista mexicano David Alfaro Siqueiros, el famoso mural Retrato de la burguesía para la sede del Sindicato Mexicano de Electricistas. En el país americano se va a ocupar, principalmente, de hacer carteles de cine, un trabajo que consideraba alimenticio y del que nunca se sintió orgulloso. No obstante, allí inicia la que, según los críticos, será su mejor obra, The American way of life, una serie de fotomontajes donde critica el modo de vida americano, utilizando las propias herramientas de la publicidad. En 1958 Renau se traslada a la Alemania del Este para dedicarse solamente a trabajos de contenido político. Aunque se enfrentó a la burocracia estatal, logra realizar algunos murales al aire libre que consideró un buen ejemplo del arte público y colectivo. España reaparece en sus últimos años de vida. Recibe una invitación para participar en la Bienal de Venecia de 1976, donde tendrá la ocasión de exponer completa, por primera vez, su serie The American way of life. Aunque el ayuntamiento de Manises le ofreció un taller para que se asentase en España, la muerte le sorprendió en Berlín, en octubre de 1982. Documentos RNE recorre la vida y obra del artista valenciano de la mano de Modesta Cruz, que cuenta con la participación de los historiadores del Arte, Miguel Cañadas y Jaime Brihuega; su biógrafo, Fernando Bellón; y el ilustrador Javier Parra, que ha montado El trabajador futuro en el comunismo, un mural proyectado por Renau, pero que no logró realizar. Escuchar audio

Vida y obra de David Alfaro Siqueiros, muralista mexicano, vida y anécdotas de Simón Bolívar. Entrevista a Luz Dary Ulloa, Directora Institucional de Vinculación con la Sociedad de la universidad Indoamérica sobre los nuevos retos de la academia frente a los cambios sociales Entrevista a Anna Jácome del proyecto Artemisadanza sobre la denuncia social a través de la danza.

Cuando Siqueiros llegó a su domicilio aquel 9 de agosto de 1960, se percató de la presencia de algunos autos con agentes de la policía; temió que irían por él para asesinarlo, así que puso en marcha su automóvil y huyó a toda prisa mientras sonaban varios balazos. Más tarde, otro grupo de policías allanó el domicilio de su amigo Alvar Carrillo Gil, donde se había refugiado, y detuvo al pintor... Después, fue acusado por el delito de disolución social y sentenciado a purgar ocho años en Lecumberri.Puedes conocer más de este y otros casos en los Archivos secretos de La Prensa. Hosted on Acast. See acast.com/privacy for more information.

En 1973, la “Sala de Arte Público Siqueiros” y “La Tallera” Casa Estudio de David Alfaro Siqueiros fueron legadas mediante testamento público por David Alfaro Siqueiros al “pueblo de México”. Hoy hablamos del colectivo independiente que se derivó de dichas acciones en lo que hoy es “La Tallera”.

In today's episode, I welcome Sandy Rodriguez! Sandy's day job is as a court interpreter, but her artistic experience goes way beyond one job title. She is also a painter, author, amatuer winemaker, and more, and she shares about the power of the arts in her own life and in the lives of those she's witnessed experience art. (Fun fact: the cover image is of Sandy's award-winning acrylic pour painting, "Lavender Fields.")   Get in touch with Sandy Rodriguez: https://www.instagram.com/choosetoprevail/ Support Artfully Told: www.paypal.me/elevateart Artfully Told links: www.facebook.com/artfullytold | www.artfullytold.podbean.com | elevateartskc@gmail.com Get a free audiobook through Audible!  http://www.audibletrial.com/ArtfullyTold Schedule your own interview as a featured guest with Artfully Told! https://calendly.com/artfullytold/podcast-interview     Episode 56 - Sandy Rodriguez Lindsey Dinneen: Hello, and welcome to Artfully Told, where we share true stories about meaningful encounters with art. [00:00:06] Krista: I think artists help people have different perspectives on every aspect of life. [00:00:12]Roman:  All I can do is put my part in to the world. [00:00:15] Elizabeth: It doesn't have to be perfect the first time. It doesn't have to be perfect ever really. I mean, as long as you, and you're enjoying doing it and you're trying your best, that can be good enough. [00:00:23] Elna: Art is something that you can experience with your senses and that you just experiences as so beautiful.  [00:00:31] Lindsey Dinneen: Hello, and welcome back to Artfully Told. I'm your host Lindsey and I am so excited to have as my guest today, Sandy Rodriguez. She is a communications expert and an artist, and has a really cool story to share with us today-- probably many stories to share with us today. So thank you so very much for being here, Sandy. I really appreciate it. [00:00:54] Sandy Rodriguez: Thank you so much, Lindsey. I'm a big fan of your show and it's such an honor to be here. [00:01:01] Lindsey Dinneen: Oh, thank you. Well, I would just love if you would share just maybe a little bit about your background and how you got involved with art and also, just a little bit more about you and what you're up to. [00:01:14] Sandy Rodriguez: Absolutely. Well, I think that I have always, always been very much drawn to arts. But I got into it a little bit more seriously in very recent years that was a function, I think, of having made a big career because for many years, I used to work as an editorial coordinator for one of the formal newspapers in Latin America. I was living in Mexico City at the time. And while that career is very fascinating and I was very passionate about that, it's also all consuming. You're really never off the clock. So at a certain point in time, I decided to make a shift, and I moved to Los Angeles where I currently live. And here I began working in a totally different field, which is court interpreting. [00:02:04] And although there's, you know, a very high barrier to entry and it's, it's, to be honest, a very grueling job. It is a situation where you're home by six, it's a normal eight to five job. So that gives me time to engage in other activities. So I was able to become an amateur winemaker, I would say. Well, to do a little bit more writing, I wrote a book of my own, recently published, and I got into art a little bit more seriously, and that was fabulous. It's been a very life-changing. So something that used to be a hobby somehow has become more of a-- well, without saying that I'm fully professional, that's not necessarily the case because I'm not necessarily, you know, marketing my, my paintings and such, but I'm doing it in a, in a much more-- let's say structured --way. And I'm very happy about that, Lindsey. [00:02:58] Lindsey Dinneen: That's fantastic. Yeah. And, oh my goodness, what an interesting career you've had. I mean, just both, you know, positions are so interesting and yeah, it does sound like, like you mentioned, it might be grueling at times, but again, at least it allows you to do other things on the side. And I, I love your realness with that because I think there are a lot of artists who might feel like, "Oh, I'm not legitimate or something if it's not my full-time gig." And I think, I don't think there's any truth behind that. And so I really like that you've done both! [00:03:33] Sandy Rodriguez: Absolutely. And I think there's something interesting. I do agree with what you're saying that some people feel that unless it is your, your absolute only activity, you might not be like you say "legit" in, in some way. But on the other hand, I do find that many creative people in many creative fields-- and by that, I mean, acting, music, art, all kinds of things, filmmaking-- normally they have these titles that include a lot of hyphens or slashes because people actually do... Creative people sometimes do a lot of things. For instance, I remember one of your recent guests that was a writer and a Broadway actress, and she was also a tour guide. I also remember another person you had on the show that did podcasts and they were also into acting and writing. So a lot of people do a lot of things, and I think that that is also something that, that can happen. It's not only the person that says "I only am in school, so we need to devote myself to this." There's this other style of person that is interested in a lot of things. And they have, we have, our hands up in a lot of different projects and fields. [00:04:44] And I think that is on the one hand-- it's, it's very interesting people that are into many fields. Some that do many things. Firstly, they have more places or sources to draw from when they actually do engage in a creative process, by which I mean maybe if you're a painter, but you're also a doctor and you're also a dancer, you might have more sources of inspiration than if you're not. So that's, it's interesting like that. And also the thing is that creative people bring their creativity into whatever line of work they're in, no matter what it is, even if you think well, "That doesn't really make sense. It doesn't sound, you know, within the realm of art or creativity to me." Maybe the person is, I don't know-- well, for instance, a tour guide-- maybe you might say, "Well, that's something that you need to, you know, base yourself on, on history. And there's not much margin for creativity." But you know, they're kind of fazed because a person might have a, a gift for storytelling or it's interesting, I think that, that you have both types of personality in the art community: the one, the person that wants to be  only focused on art, and the person that is, that spreads their creativity across a number of different fields. So there's a little bit of both, I think. [00:06:02] Lindsey Dinneen: Yeah, I absolutely agree. And I think you're absolutely right. Sort of I've noticed that creativity seems to beget creativity, in a way. So when you are exercising that muscle, then it, it becomes stronger and might go into many different avenues, like you were saying, instead of necessarily --you know, I think there are times when it's important to focus on one path, you know, and really go after that one thing, hone those skills-- but like you said, it's so much fun because you can dabble in all sorts of things and learn the joy from each one, you know? So I love that. Yeah. Well, okay. Something you said earlier totally caught my attention and I was like, "Wait a second. We can't just skim over that." Okay. So you make wine? [00:06:48] Sandy Rodriguez: Yeah. Well, I think that's also a creative thing. Yes. So a couple of years ago, I started making wine and let's say in a serious matter, although it's an amateur only, I made a good Merlot, and then I made an excellent Zinfandel deal the following year. And when I say excellent, I'm not even making it up. I actually won a bronze medal for, for the Zinfandel, which I made alongside of a former boyfriend. We got into that and it was fantastic. I bought grapes from vineyard in the Paso Robles region. And we just went for it and we, we made a very, very good wine. It's also a very interesting field for, for creative people and just in general. So it's a hobby that very few people might engage in because you might think, "Oh, you need to own your own vineyard. Or it might be extremely expensive or very difficult." And, well, that's not really the case. I mean, you can actually source the grapes from existing vineyards. You don't really need to own one. [00:07:49]And as for the process, interestingly enough, the winemaking community is very welcoming, even to newcomers or people that are just hobbyists, they're, they're very nice people overall, and they're very open to giving you tips and, and their secret techniques. So it's a lot of fun. And in more recent months, I've been trying to do something that I don't know if you could even call it wine. But I've been using wine-making techniques, not with grapes, but with just random fruit juices. I've tried it with a cherry juice, cranberry, apple. And the result is, well, I don't know if you could call it wine per se, but it's, it's just a very fun activity. And once you're, you're done, I don't have a commercial permit, but I can give samples out to friends or I can drink it myself. So it's, it's just very fun. Very, very fun. [00:08:42] Lindsey Dinneen: Oh, that is so cool. Well, and I love the fact that you were talking about how sometimes it might seem like something, an activity, that has some barriers to it, but-- and I would have thought the same thing honestly, it would never have crossed my mind to, to try it-- but now I'm kinda like, "Ooh, maybe I will." [00:08:59] Sandy Rodriguez: I think you should! And well, let me tell you, here's the thing-- it's very hard to scale up, but it's very easy to just start small. For example, the smallest you can go is making wine from a kit, which is still wine. I mean, it's not really like making brownies from a brownie mix. It's more like, like making a meal from a meal kit. You really do have to put in some labor and it's, it's interesting. And you can buy a kit from many wine-making sources online or in person, and you can make maybe like, five bottles of wine. I think that's the smallest amount that you can make. Now, if you want to scale up a little, the next possible step is what I did with the Zinfandel. You can purchase at least a hundred pounds of grapes from existing vineyards and that will yield about 30 bottles of wine. So it's a big leap and I wouldn't necessarily recommend scaling up once you've done that, because then you would probably need to go commercial and invest way more time and money into, you know, getting a license and such. But I think the 100 pound amount is, is great. I mean, that's, that's impressive enough to dazzle your friends.  It's just very fun. I would recommend that to anybody that's interested in, in an unusual hobby. [00:10:22] Lindsey Dinneen: Oh, how fun and also, oh my goodness, congratulations on the bronze metal or a bronze award. How cool is that? Did you submit it to like a... I don't even know how that process works. That's so cool. [00:10:36]Sandy Rodriguez:  It was actually a little surprise for me. I was-- so most of the bottles from that particular batch, my ex-boyfriend kept them and he kindly entered the, the wine into this contest, but I wasn't even aware until we won. So that was a very pleasant surprise. Yeah. But I wasn't really all that surprised because I mean, modesty aside, it was really great quality and that's not only because-- I mean, the technique we followed was, was fantastic-- but because the grapes themselves lend themselves to making a wonderful wine. Wine, for the most part, is dependent on, on the grapes you select initially. And these were great. So, I mean, it was, it was surely going to come out very well in the end. [00:11:21]Lindsey Dinneen: Oh, that's so cool. Okay. Well, I know you've recently written a book, and I would love to hear more about the process of that, because I know that's an undertaking, but also just maybe more about what it's about and, and that's a whole art form in itself. [00:11:37] Sandy Rodriguez: Absolutely. Well, this is a book that is described by many as a conversation between the reader and the very supportive friend, and the conversation leads to the reader feeling more at peace and more confident. So it's a book that really has those two goals in mind. It's a book that is meant to leave the reader feeling more at peace and more confident in many ways, self confident and confident in the fact that things will always turn out alright. And this is a book that I wrote, it's called "Choose to Prevail," subtitle is "Unexpected Insights to Help You Overcome Challenges," and it's meant to help the reader overcome challenges big and small. When I say big, I mean, things such as, for instance, the death of a loved one, for example, or smaller things, which could be a difficulty when expressing oneself in public or maybe physical insecurities, that kind of thing. [00:12:35] And in fact, it's a book that has been it's being gifted to people that join this company called Heart of Hollywood as members. This is a company that encompasses actors, dancers, models, et cetera. And the CEO and owner felt that the book offered value to people in the creative fields, in an entertainment, because I mean, this is a field where rejection is, you know, it's part of the very nature. So people do need to develop more confidence, rock-solid confidence, more faith in the fact that things can and will turn out fine. So it was very flattering for me to see that this company that deals with people in entertainment and the arts is now kindly giving its, its members this school. So that was, that was something that was very, very nice for me. And also I think that the  book allowed me to express myself in, in ways that go beyond writing. [00:13:39]I was mentioning to you that recently I got a little bit more serious into, into arts. Let me backtrack a little. When I was a little girl, I had a tremendous passion for drawing, sketching. I would always have scrap paper at the ready and the pen or pencils or colored pencils or anything, markers, anything, because it was a tremendous compulsion that I had. So much so, Lindsey, that there was a time that I broke my right arm-- and I'm right-handed-- and instead of saying, "Okay, I'll just wait until I heal so that I can continue." No, I trained myself to draw with my left hand because I simply could not go a day without drawing or sketching. It was just a passion for me. I simply could not stop. So strangely, even though I was so, so passionate about this, I think when I became like maybe a, an older teenager and then a young adult, that kind of stopped being as interesting or important to me. I don't know why. [00:14:41] I don't think that there was a specific incident. Maybe I just got too busy with life. I don't know, but it was something that I kind of stopped doing. And then in recent years, I would say maybe three years ago, I kind of got back into it, but this time around, it was not only drawing that I was interested in, but I wanted to explore painting. My mom is an architect and also an artist, much more serious and rigorous than me. And I think seeing her recent paintings was really something that inspired me. So I started experimenting with acrylics and I started painting, and the same compulsion that, that I had felt-- this little girl-- when it came to drawing, I felt the same thing. I had to go out and buy just a bunch of canvases and paintbrushes and paint and everything had to be ready because maybe I was in bed, and I was like, "Nope, I need to get up. I need to paint this thing that I'm thinking of." And that's, that's something that happened to me recently. [00:15:41] And because it was kind of new to me, I was not used to acrylics or painting per se, drawing and painting are not-- not at least in my mind-- not quite the same thing. They don't even use the same part of the brain, is what I feel. But the compulsion was very similar and I did want to experiment as much as I could. And I also discovered this technique or style called acrylic pouring, which is a fluid, fluid style of painting that has its roots in something called "accidental painting" or "fluid arch" that was developed by a Mexican muralist by the name of David Alfaro Siqueiros who actually taught and also influenced Jackson Pollock at some point. Now modern day, acrylic  pouring is mostly considered a craft rather than art, because there are very specific techniques that people can pick up on, on YouTube and whatnot. Not to say that that doesn't have value because it does. I mean, of course, it's interesting that people can, can just start off their journey through tutorials, of course. But I wanted to, to explore that technique in ways that were not like accidental but rather more planned, and I also wanted to do it in ways that were not in line with existing techniques, but rather just experiment. And I did, and one of my acrylic pours actually ended up being the cover for the book, so that it was very cool. [00:17:13] Lindsey Dinneen: Wow. Yeah. Well, and I love the fact that this was such a passion for you that-- oh, well, first of all, that you taught yourself to do that with your left hand, I mean, that is so impressive, I can't even draw with my right hand.  I mean, I can, but I can't do what you do. It's not like a fine art thing. I can, you know, play around. But anyway, so that is super impressive. But also I just love that you've picked it back up, and it was fun to hear you talk about how you just want to be at the ready so that, you know, when inspiration strikes per se, you can respond. And that's so cool. Well, I, you know, I have a little bit of an advantage here at knowing you had mentioned before, about a specific thing that happened where you entered a contest as a kid. Do you want to tell that story? [00:18:06] Sandy Rodriguez: Absolutely. Yes. So when I was little, I mean, it was an obsession. I would say that maybe it was a little bit crazy, but I also like to, to draw not only things that came from my imagination or for watching the world around me. But I also like to draw or try to replicate characters. Like for instance, I would like to read, say Archie comics and I would draw the Archie characters or people that looked vaguely like the Archie characters, but in different situations with different clothing, different storylines. I made my own comments. And I think that that's also something that maybe some parents will say, "No, I don't want my kids to, to be reading comic books and let alone, you know, copying things that they might see elsewhere," because that doesn't sound glamorous or, or, you know. But in reality, it's a, it's a good segue. I think it doesn't matter what the entry way into art or reading is, I mean, I think that's, it also has value. [00:19:06] In any case, I was very used to doing that and I heard about this contest that was going to be sponsored by Kellogg's where you had to draw you know, the Kellogg's characters doing different things for different situations. And I submitted a couple of, of drawings of Tony the Tiger and Snap, Crackle, and Pop making cereal or, you know, just doing the things of that, of that sort. And I actually won this gigantic adult sized 10 speed bicycle. So that was fantastic. That was so, so cool. And I do love entering contests. In fact, last year I also entered an acrylic paint pouring contest. This was online. And I also won a first place. This was not something that was selected by judges, but rather through votes. And a lot of people voted for it, for my painting. It was something called "Lavender Fields" where I tried to use a cooling techniques to replicate a lavender field in France that I had once visited. So it's, it's really very interesting. I would encourage people of all ages to enter contests because it's just very motivating. It's fun. It's a fun activity. I think it's, it's, it's something that-- I mean, if you don't win, that's fine-- but if you do win, it's just like a fun story. [00:20:23] Lindsey Dinneen: Yeah, it is. Well, congratulations for both of those things, because that's so fun. [00:20:30] Sandy Rodriguez: Thank you. [00:20:30] Lindsey Dinneen: And I'll definitely have to see a picture of that painting as it sounds gorgeous. [00:20:36] Sandy Rodriguez: Well, thank you so much. Well, it's actually interesting because again, as I was telling you, acrylic pouring normally as taught in tutorials or in classes is really very techniquey, but I didn't want to go with things that everybody does, and everybody knows how to do, when everybody knows how, how to replicate. I wanted to do something that was more-- not, not a hundred percent accidental, but rather with a certain degree of planning. So I thought, "Okay, what do I need to do? How do I need to tilt the canvas?" The way this is done is pretty interesting. You use acrylic paints that are either pre-liquified or that you yourself make more liquid by the use of something called the pouring medium. So you have these-- let's say sort of liquid acrylic paints that you place on a canvas, and you tilt the canvas to and fro to the sides, et cetera, in order to make the paint move, and you can achieve very specific effects. It can look like marble. It can look abstract. You can look like a seascape depending on the color zone and the way you're moving the canvas or how you're tilting it, or certain other factors you might add to the paint. [00:21:48] But I wanted to do something a little bit different. So I really gave it a lot of thought, like, "What would happen if I do this? If I do that?" And I ended up using a liquid acrylic paint. And even though the technique I used was that tilting the canvas, moving the canvas, I was able to guide the painting into looking the way that I had previously planned it to go. So it was, it was pretty fun. It was, it was an interesting experiment and I'm really glad that people liked it. I also think that this pouring technique is very satisfying. I mean, it feels so relaxing when you're doing that. And that's also something that I mentioned in the book. I mentioned how art can truly modify your moods in, in very dramatic ways. [00:22:36] For example, if you're feeling a dip in your self-confidence or you're feeling a lack of energy, I can certainly say, and I've proven it myself, bring out your canvas and you provide yourself with paints in reds and burgundies and all of these exciting colors. And you turn up, you know, very intense music and you start painting. I mean, you feel very replenished and very confident by the time you're done. And by the same token, if you're feeling a little bit stressed or frazzled, and that happened to many people during the beginnings of COVID, and actually when COVID started, I went out and I got myself all the supplies that I needed. I started painting seascapes, another very tranquility- inducing landscapes, and blues and teals and grays. And, and it really is very soothing. I mean, just the type of brushstroke soft and it's, it's very therapeutic, I think. [00:23:33] Lindsey Dinneen: Yeah, absolutely. Yeah. Well, that is really inspiring. And I, I love the fact that you have taken this opportunity, you know, taking something that is a challenging time, but used it for creativity and as an outlet. And I couldn't agree with you more about how art has the power to really impact your mood in a great way, and your outlook on life, and like you said, even self-confidence through it. So it's a powerful thing. And yeah, I, yes. I always encourage everyone, I know everyone has creativity in them and it's just a matter of finding the type of art that speaks to you, you know? Well, I would love, I'm sure you have probably many of these thoughts, but is there any particular memories that sort of stand out as moments that matter when either you watched somebody experience your art, or you experienced somebody else's art, and you just thought, "I've got to remember this moment." [00:24:36] Sandy Rodriguez: I think there are several. I mean, as I was telling you, my mom is, is an artist, far more accomplished than, than myself. And sometimes I see things that she has made, or I see things during the process of them being completed. And it's just very exciting. I mean, it's, you know how  Tom Sawyer, when he's white washing a fence and all of his friends think, "Oh, that looks super fun!" And it's really not. But the friends think that, well, in this case, I feel it's the same compulsion. You see somebody wielding a paintbrush and you say, "Oh, I want to do that." Luckily, unlike in the Tom Sawyer story, it really is fun. It's not unpleasant. It's really fascinating. But that's the thing. Just seeing somebody as they're painting, at least to me, it feels like I want to do that myself. It's just very tempting. It's one of those things that, that really speak to me. So I think whenever I see her or other artists in front of their easel or doing the things that they're doing when they're in the middle of adding a little tree or painting a, an eye or adding something to the sky, you know, I really want to do it myself. [00:25:45] It's just something that's, that's very tempting to me. And also, as to the other situation, moments that I feel that I've remembered very clearly where people have liked what I've done. Yeah. Like for instance, I started painting this series of wine bottles recently, I guess also inspired by my wine taking things. But I, I think that wine bottles are very fun to paint because firstly, depending on the colors you choose on the placement, they can look very festive or very depressing, and both are interesting things to express. You can, you can express despair and anguish through a wine bottle, an empty wine bottle or half full one. And likewise, you can express a feeling of celebration. So they're, they're interesting. It's the same object, but it can give off two very different vibes depending on how you choose to paint them. And I made that series. And surprisingly, I think it's one, one of the series that I've made that people respond to the most. [00:26:47]I've sold a few, and a lot of people have reached out in regards to those. I think that's interesting. I think that's something that, for whatever reason, spoke to people, so that was nice. And also there was another thing that, that happened.  So during COVID, the very first day that I heard the expression, "social distancing," I thought, "That is so interesting." And that very day, I came home. Because of my type of work, I really didn't have, you know, much time to, to spend at home. I was not in lockdown myself for, I mean, maybe just a couple of months, but not, not throughout the year, like many other people. But those months, the very first day that I was, let's say "sent home" and that I also heard the expression, "social distancing," I thought that would make a fascinating painting or drawing. So what I did is I made a set. It was two separate small illustrations. One of them showed a woman seen from behind at home. She's reading. And she's just in her home. She has a little dog, and it's like a scene where she's home basically. [00:27:57] And then there's a separate illustration where there's a guy also seen from behind. And he's also you know, at home, also kind of doing his own thing, but he's thinking. There's a thought bubble where he's thinking about the woman, and what the thought bubble shows is the exact same image that you see in painting number one. So this set is called "Social Distancing" because I felt that that was a good reflection of what was going on, that people were going to have to be separate, each one in their own homes, but they might be missing or longing for being with somebody else, being with the other person that they were missing-- a partner or a girlfriend or a friend, maybe a sister. So I thought that that was an interesting thing. And what I found fantastic was that the Los Angeles Public Library agreed that it was interesting. And now those two paintings are part of its digital collection as part of the COVID archive. [00:28:54]Lindsey Dinneen: Sandy, you are so amazing. You've done so many cool things. I love that. Congratulations for that too. Oh, that's yeah, just, that is really cool. And I love the fact that you were able to express that so beautifully through art and, and capture a moment in time that does matter. That's really neat. So yeah. Kudos to you. Well, I'm sure that there are listeners who would love to connect with you, maybe see some of your artwork if it's available online, just maybe purchase your book, follow you in your future endeavors. Is there a way for them to? [00:29:33] Sandy Rodriguez: Yes, absolutely. I have an Instagram that is at @chooseprevail. That is an Instagram through which I share my, my journey as a writer. And occasionally I also share art, new things that I've been painting, new things that I'm doing. It's more focused on the book than on the art part, but you do find a little bit of both, and I think that's the easiest way to, to connect. If anybody cares to send me a direct message, that's also possible through Instagram, and as for the book, it's available pretty much everywhere. It's on Amazon. That might be the easiest venue, but it's also on personable.com, target.com, or Walmart e-books. I've even seen it on E-bay Australia. So I think that if somebody cares to get the book, they should be able to get the book. And I would be very happy if they did. [00:30:26] Lindsey Dinneen: Of course. Perfect. Well, fantastic. I have three questions that I always like to ask my guests if you're okay with that. [00:30:35] Sandy Rodriguez: Absolutely. [00:30:37]Lindsey Dinneen:  Okay, good. So first of all, how do you personally define art or what is art to you? [00:30:43] Sandy Rodriguez: Well, I think that the dictionary definition would be simply something like, "the expression of human creativity and imagination to something such as a painting or a sculpture." Normally it's in visual form, but, personally, I think that it doesn't necessarily have to be in visual form. I think, for example, poetry can be a form of art. Certainly music can be a form of art as well. So I think it goes beyond, it goes beyond the visual. It's basically the application of creativity and imagination into something that speaks to others. I believe that would be the definition. [00:31:23] Lindsey Dinneen: Yeah, absolutely. Okay. And then what do you think is the most important role of an artist? [00:31:30] Sandy Rodriguez: I think that they're --okay-- it has two types of importance. One would be important for oneself. I think that as an artist, the importance of art to yourself would be allowing you to express feelings and modify them, so it's something that is both a source of expression and also a source of comfort to yourself as an artist, I think. But as to society or more as a whole, I think that, firstly, it can make society better by adding more beauty to everyday lives, but it can also shine a light on things that might be social ills or social problems. So it's simply another way of communicating. As a journalist, as a former newspaper editor, I would say that the role of art is not entirely different from the role of any other form of media. You can either shine a light on problems or spread the word on something that is beautiful, spread the word about something that is fascinating, bring more beauty to the world. [00:32:37] Lindsey Dinneen: Yeah, absolutely. That's fantastic. Okay. And then my final question, and I'll define my terms a little bit, but do you think that art should be inclusive or exclusive? And inclusive referring to an artist who puts their work out into the world and include some context behind that, whether it's a title or program notes or the inspiration, versus exclusive referring to an artist who puts their work out but doesn't include context behind it. So it's kind of left entirely up to the viewer to interpret it the way that they will? [00:33:12] Sandy Rodriguez: Ah, that's a very intriguing question. And I will always question that. Myself, for example, when going to museums that are not art museums, but rather museums of history. Sometimes you see artifacts from cultures that are long gone and you see the interpretation of modern day historians like saying, "Okay, this was a ceremonial goblet." How do we know it was a ceremonial goblet? Maybe it was somebody's everyday coffee mug. I mean, you don't know for sure. And it's kind of difficult also when it comes to, to arts, because I think for my fun and entertainment, I might choose not to give an explanation and just see how people respond to it, seeing what it triggers in other people, what a piece that I've made my may, you know, inspire or trigger within the viewer. [00:34:04] But in reality, I think I'm more of a person that doesn't like to give explanations. So normally when I, when I create something, I do normally either give it a title or give a little backstory. I like to do that. I personally, I see value in both. In the way I do it, obviously the value is that there's no misinterpreting first for sure. But I think that the other style would have a lot of value and I would be curious to try it someday, see what happens if I give no explanation and just wait and see what people might say. So that's a fascinating question. I hadn't thought about that, but yes, definitely. I do the explaining part, but I'm going to try not doing these explanations, and see what, what what happens. [00:34:51] Lindsey Dinneen: Perfect. "Do I like that?" It'll be an interesting social experiment. [00:34:57]Sandy Rodriguez: Absolutely. [00:34:57]Lindsey Dinneen: Well, that's fantastic. Well, Sandy, I have enjoyed our conversation so much. You are so multitalented and I love how much you like to dabble in all sorts of different things, and still enter contests, and are actively creating. Thank you for sharing your art with the world and with me this morning, I just really appreciate it. So, thank you. [00:35:21] Sandy Rodriguez: Thank you, Lindsey. I had so much fun. You're wonderful. [00:35:25] Lindsey Dinneen: Oh, you're so sweet. Well, and thank you so much to everyone who has listened to this episode. I would highly encourage you to connect with Sandy on Instagram and follow her journey because obviously she is continuing to make incredible things, and that is her trajectory and it will just continue and it's going to be exciting. So go ahead and, and follow her. And we will catch you next time. [00:35:50] If you have a story to share with us, we would love that so much. And I hope your day has been Artfully Told.

Kristina Velfu platicó con el director de la Sala de Arte Público Siqueiros, un espacio de resguardo, exhibición y revisión del archivo y obra de David Alfaro Siqueiros.

Muralism is empowering, uplifting, and can be a megaphone to celebrate ethnicity. Judy Baca has been creating public art for decades and has produced over 400 murals while employing thousands of local participants to be part of Los Angeles' social and artistic evolution. Her efforts are embodied by the Social Public Art Resource Center or SPARC. In this episode, we talk to Judy about her life in public arts and how SPARC has been such a large part of her journey. We begin our conversation by talking about what it was like to be in Los Angeles, as the former public art capital of the world. Judy chats about city bureaucracy and that there was little control over who could paint what and where. Following this, Judy introduces listeners to the permitting process which has plagued public mural art progress since its introduction. Yet, by this stage, murals had already left a huge impact on society, as various minorities and ethnic groups residing in L.A were now being represented. Later in the show, we discuss SPARC's origin story and discover how it helped to band different neighborhoods together. Judy goes on to detail some of the impressive large-scale projects she has been part of, like the Great Wall of Los Angeles. Toward the end of our conversation, we talk to Judy about what it was like to learn in the legacy of David Alfaro Siqueiros, as well as what it takes to run community-based projects. For more on Judy's life in art, be sure to join us in this historically rich and inspiring episode.   Key Points From This Episode: Introducing today's guest, Judy Baca, Founder and Artistic Director at SPARC. Judy describes what it was like to be in Los Angeles, the former mural public art capital. How the park's walls in L.A went from gang writings to artistic murals. How the contemporary permitting process has affected L.A's relationship with public murals. Judy shares her experiences changing the face of L.A.  Hear the genesis of SPARC and what its original intentions were. We ask Judy to share details about the Great Wall of L.A Judy tells listeners what it was like learning in David Alfaro Siqueiros' workshop. Hear the steps involved in creating and running community-based projects. Why Judy became a professor. Judy shares some of the reasons why she never pursued a career in high art. How SPARC has become a modern marvel with an inspiring heritage. Judy gives listeners a taste of her latest project and what it's all about. For more information and photos, visit here: https://notrealart.com/judy-baca

Muralism is empowering, uplifting, and can be a megaphone to celebrate ethnicity. Judy Baca has been creating public art for decades and has produced over 400 murals while employing thousands of local participants to be part of Los Angeles’ social and artistic evolution. Her efforts are embodied by the Social Public Art Resource Center or SPARC. In this episode, we talk to Judy about her life in public arts and how SPARC has been such a large part of her journey. We begin our conversation by talking about what it was like to be in Los Angeles, as the former public art capital of the world. Judy chats about city bureaucracy and that there was little control over who could paint what and where. Following this, Judy introduces listeners to the permitting process which has plagued public mural art progress since its introduction. Yet, by this stage, murals had already left a huge impact on society, as various minorities and ethnic groups residing in L.A were now being represented. Later in the show, we discuss SPARC’s origin story and discover how it helped to band different neighborhoods together. Judy goes on to detail some of the impressive large-scale projects she has been part of, like the Great Wall of Los Angeles. Toward the end of our conversation, we talk to Judy about what it was like to learn in the legacy of David Alfaro Siqueiros, as well as what it takes to run community-based projects. For more on Judy’s life in art, be sure to join us in this historically rich and inspiring episode.   Key Points From This Episode: Introducing today’s guest, Judy Baca, Founder and Artistic Director at SPARC. Judy describes what it was like to be in Los Angeles, the former mural public art capital. How the park’s walls in L.A went from gang writings to artistic murals. How the contemporary permitting process has affected L.A’s relationship with public murals. Judy shares her experiences changing the face of L.A.  Hear the genesis of SPARC and what its original intentions were. We ask Judy to share details about the Great Wall of L.A Judy tells listeners what it was like learning in David Alfaro Siqueiros’ workshop. Hear the steps involved in creating and running community-based projects. Why Judy became a professor. Judy shares some of the reasons why she never pursued a career in high art. How SPARC has become a modern marvel with an inspiring heritage. Judy gives listeners a taste of her latest project and what it’s all about. For more information and photos, visit here:

La campal lucha entre Diego Rivera y David Alfaro Siqueiros tiene su origen en la conmemoración de la Revolución Rusa en la URSS. ¿Quién era Borodin? ¿Por qué se relaciona con la enemistad que fue creciendo entre Diego y Siqueiros? ¡Descubre más sobre esto en neustro podcast!Support the show (http://www.historiachiquita.com)

El ajedrez es el juego de la vida. Lucha de clases sobre un tablero en el que los peones son pequeños y valerosos sirvientes de su rey y son sacrificados cuando les llega el turno, para dar paso a las piezas mayores. Esta semana os traemos un puñado de historias de peones, caballos, alfiles, torres, damas y, como no, también reyes. Y además aprovechamos para presentar al mundo entero el Gambito del Can, una apertura kamikaze que te llevará tus partidas al ajedrez a la ruina, o al éxito. De ti depende. Nos acompaña en el estudio Pedro Lópeh, del programa El Café de Silverio, y profesor de ajedrez en la vida real. Estas semanas atrás leíamos el libro "El Peón", de Paco Cerdá, publicado por la Editorial Pepitas, que, a través de los 77 movimientos de la partida entre Arturo Pomar y Bobby Fischer en Estocolmo 1962, recorre las vidas de numerosos «peones» entregados a una causa política en la España franquista o en los Estados Unidos de Kennedy en aquel convulso 1962. Comunistas, maquis, obreros, socialistas, etarras, cristianos, republicanos, estudiantes o falangistas; afroamericanos, pacifistas, indígenas, activistas antinucleares, izquierdistas o militares de obediencia ciega. Personas que se sacrificaron ante la dictadura o el capitalismo pagando un precio de muerte, cárcel, exilio o soledad. Por otra parte, Pedro Lópeh conduce el programa de radio El Café de Silverio, mucho más que flamenco. Ya lo hemos dicho, pero lo repetimos: el mejor programa musical de la piel de toro. Pedro, en la vida real, entre otras cosas también es profesor de ajedrez, aunque en cierta ocasión alguien en Madrid le dijo que no tenía acento de serlo. ¿Qué acento tiene que tener un profesor de ajedrez? El clasismo y la cabronancia tienen mil caras. Y así es como se nos ocurrió hacer este programa, recorriendo también el resto de las piezas del ajedrez que no están en el libro de Paco Cerdá. Caballo, alfil, torre, dama y rey. Venga, y una de peones, también. Y que fuese Pedro Lópeh, con su acento de no ser profesor de ajedrez, quien nos acompañase en el estudio. Así revisitamos la partida del siglo en el mundial de ajedrez de 1972 en Reikiavik entre Fischer y Spassky, dos peones al servicio de intereses más altos durante la Guerra Fría, que fueron sacrificados a su debido tiempo, después de jugarse el honor político de Estados Unidos y la Unión Soviética sobre un tablero. En nuestra partida tenemos un caballo protagonista, Imperioso, y como no, también Jesús Gil y sus 30.000 licencias de construcción inmobiliaria en Marbella al margen de la ley durante una década completa. ¿Asesoró imperioso a Jesús Gil y Antonio Cerezo para hacerse con el 97% de las acciones del Atlético de Madrid sin poner ni un puto duro? Nuestro alfil se llama Courtney Love, y recorre las casillas blancas en diagonal. Sin salirse. Más allá de la misoginia del punk que la culpa de la destrucción de Nirvana, detectamos dos corrientes de bandas con mujeres al frente que toman las riendas del punk en los 90. Cada una por su fila, sin salirse y sin coincidir con las otras. Por un lado tenemos a Bikini Kill y Bratmobile y por el otro a L7 o Hole. Tenemos dos aproximaciones para tomar el mundo del rock, una abiertamente feminista y militante y la otra no, que aboga por tomar el escenario “simplemente” tocando. Un ataque por dos flancos, en parte enfrentados, pero complementarios. Tenemos la torre cargada de dinamita y liderada por David Alfaro Siqueiros, mexicano de nacimiento, pronto eligió los dos caminos que le ocuparían toda su vida: las bellas artes y la política de mancharse las manos. En la Guerra Civil española fue conocido como El Coronelazo, mientras liquidaba anarquistas o les enviaba a misiones suicidas. Peleó por el bando republicano, pero sus desaveniencias con las decisiones tomadas respecto a las Brigadas Internacionales le llevaron a disparar a la propia bandera republicana y abandonar el campo de batalla: "estos hijos de puta quieren perder su guerra". Poco después estaba dirigiendo un festín de balas en un atentado fallido contra Trotsky. Nuestra dama se mueve en diagonal y horizontal, desde Madrid a Toulouse y de París a Barcelona. Federica Montseny, una una dama de la lucha, del compromiso y una valiente, haciendo política cuando a las mujeres no se las dejaba participar. Viviendo la ignominia y la represión tras la guerra en el exilio, como mujer, como anarquista, como todas las luchadoras de su tiempo. Y finalizamos con el rey blanco: Sito Miñanco. El libro de Nacho Carretero, "Fariña", y sus extensiones en formato serie televisiva y espectáculo teatral, la figura de Sito Miñanco ha visto su popularidad disparada. Llegando a toda una generación que no recuerda los telediarios de la Operación Nécora y la posterior detención de Sito. En aquel momento su nombre pasó al imaginario popular y después de aquello el silencio alrededor de su personaje. Silencio, no para todos: la banda Os Papaqueixos declaraban a Sito preso político en su tema "TeknoTrafikante". Aurrera! Eso en el 99. Años más tarde, en 2012, se volvían a juntar con motivo de la llegada a Feijoo a la presidencia de la Xunta: el retorno del fascismo a Galicia, después de años de fraguismo. El Gambito del Can De paso, en este programa aprovechamos para hacer la presentación mundial del Gambito del Can, una apertura muy perra que jamás haría Deep Blue, pero que os la proponemos para que sorprendáis a vuestros contrincantes. Si os lleva a la ruina o al éxito, eso ya depende de vosotros. Aquí la explicamos: Un gambito es una forma de iniciar una partida de ajedrez en la que uno de los bandos sacrifica un peón, perdiendo material a cambio de contrajuego o de ganar iniciativa. Abusas de la glotonería del contrario pero consigues ventaja de espacio. Muchas aperturas en el ajedrez tienen nombre. Esta no, porque no se suele jugar. Así que se lo ponemos nosotros: el Gambito del Can. Una apertura para corazones intrépidos: 1. c4 – c5 2. b4! – ... Aquí planteamos el gambito. Ofrecemos un peón a cambio de marcha. Es como tirar una piedra a la cristalera de un banco. Fluye la adrenalina, haces saltar las alarmas, la noche es oscura y sus armas vienen a por ti. Pero haces lo que debes. Coges tu segundo peón por la izquierda, lo adelantas dos casillas y gritas a la cara de tu oponente: Do the right thing! Por muy épico que te pongas, el jugador negro es un cabrón materialista y te come el peón. Fijo. 2. .... - cxb4 3. g3! - … En el tercer movimiento, el jugador blanco no intenta recuperar el peón perdido, sino conseguir el máximo desarrollo posible, sacando los alfiles por las diagonales principales, uno por Via Laietana y el otro bajando por Carretas para dominar Sol antes de que el contrario saque sus alfiles con bocachas y sus torres lacrimógenas. ¡¡¡Ganan blancas!!!

We braved covid to bring you another Chelsea dispatch! Nobody stopped us, turns out podcasts are essential work. Consider this the third in a on-going series about the arts and gentrifcation. Last year we processed the opening of Hudson Yards, two years ago we visited the museum of markets before touring Warhol at The Whitney. … Continue reading "Episode 109 – Vida Americana, Zombie Chelsea"

Segunda edição da série "Leituras do Anarquismo - Introdução aos clássicos do Anarquismo". Neste episódio conversamos com Rafael Saddi (Professor de História na UFG e Banda Senõres) sobre o famoso escrito de Mikhail Bakunin, o "Deus e o Estado". Falamos sobre Animalidade e Humanidade, Materialismo e Idealismo, Federalismo e Centralismo, ciência, natureza, etc. Trilha:Señores - Lei da GravidadeRankore - BakuninAgainst All Authority - BakuninBGAlessio Lega - La tomba di BakuninAviador Dro - Camarada BakuninArte: Trecho em que Bakunin aparece representado no mural "Del porfirismo a la revolución" do artista plástico mexicano David Alfaro Siqueiros, marchando ao lado de Ricardo Flores Magón e Pierre-Joseph Proudhon. Acesse:https://desobedienciasonora.milharal.orgPodcast:www.megafono.host/podcast/desobediencia-sonoraSpotify:https://open.spotify.com/show/21q7Qt4XOIAeP5WOZZF6Vo?si=1KRP3j7IQYWCHq3E9VWQVg

We braved covid to bring you another Chelsea dispatch! Nobody stopped us, turns out podcasts are essential work. Consider this the third in a on-going series about the arts and gentrifcation. Last year we processed the opening of Hudson Yards, two years ago we visited the museum of markets before touring Warhol at The Whitney. … Continue reading "Episode 109 – Vida Americana, Zombie Chelsea"

Learn about the experimental painting Cara de niño (Concentración) by David Alfaro Siqueiros! On view at the Museum of Fine Arts, Houston in the new Kinder Building.   Email: artwatchpodcast@gmail.com Social Media: @artwatchpodcast Patreon: patreon.com/artwatchpodcast

Peace I leave with you; my peace I give to you. I do not give to you as the world gives. Do not let your hearts be troubled, and do not let them be afraid. ~ John 14:27 (NRSV) Image: Peace, David Alfaro Siqueiros, 1961 --- Send in a voice message: https://anchor.fm/bob-johnson9/message Support this podcast: https://anchor.fm/bob-johnson9/support

David Alfaro Siqueiros es uno de los artistas más representativos de la historia del arte mexicano, una figura importante del siglo XX que luchó por sus ideales toda su vida, buscando representar en su obra la realidad social que se vivía en México y...

Nathan Orosco, a Chicano artist, was born in Odessa, TX and received his B.A. in Studio Art at The University of Texas of the Permian Basin in 2000 and his M.F.A in Sculpture at Washington State University in 2002. He is currently an Instructor of Art at Mt. Hood Community College where he teaches sculpture, drawing and design. Nathan Orosco's work has been exhibited nationally including exhibits at the Museum of Arts Culture in Spokane WA and the Mexic-Arte Museum in Austin, TX. Listen to find out how a boy from an industrial town found a way to break out of the laborer mold and pave his own path. Listen to find out how you could trace your lineage way back to Meso-American peoples and to realize that we were here before the European conquests. That makes this earth below your feet your earth. You are free to roam and discover. Find out how he creates art that pays homage to his past and homage to the ways of his Native, Indio ancestors. Quote of the show: “Artists understand the way people visually feel and how those visual things can impact the psyche” Make sure you visit his website at nathanorosco.com and follow him on IG @nathan11orosco. Please be sure to visit our website at consafospodcast.com and follow us on IG @con_safos_podcast and on FB @ Con Safos Podcast. Also be sure to start your own private art collection by purchasing local OR by visiting 1Xrun.com and enter Promo Code: latinx for a 10% discount. Notes from the show: Chris Stanley UTPB Ricardo Sanchez WSU Chicano Poet/Professor James Luna: The Artifact Guillermo Gomez Peña Ruben Trejo Los Tres Grandes: Diego Rivera, David Alfaro Siqueiros, Jose Clemente Orozco Coco Fusco Chris Burden Book Recommendations: Spirit Run by Noe Alvarez Neither Wolf Nor Dog by Kent Nerburn The Four Elements: A Practical Guide to Personal Freedom (A Toltec Wisdom Book) by Don Miguel Ruiz Creative Quest by QuestLove

El David que enfrenta a Goliat. La revolución interna que lleva al cambio social tomando el pincel y las armas. La furia de una melena incendiaria que no se resigna a lo establecido, permanece y respira en la obra de David Alfaro Siqueiros.

En el capítulo anterior, Alejandra Matiz, hija del reconocido fotógrafo cataquero Leo Matiz, nos comparte sus memorias sobre algunos acontecimientos históricos que marcaron la vida de su padre como fotógrafo, desde sus inicios hasta su llegada a México. En esta segunda parte, nos platica cómo Leo Matiz forma parte del muralismo mexicano a través de sus fotografías, de su trágica salida de México a causa de un conflicto con el pintor David Alfaro Siqueiros, y también de su legado y sus últimos días. Alejandra Matiz es presidenta de la Fundación Leo Matiz y desde 1978 preserva y divulga la obra fotográfica su padre.*La imagen, así como los audios históricos presentados en este podcast son cortesía de la Fundación Leo Matiz (http://www.fundacionleomatiz.org/)Producción:Universidad del Magdalena + la Red Outliers School.Realización:Sylvia VillalbaHugo Pardo KuklinskiMúsica:"Leos" por EU Producciones Musicales está sujeta a una licencia Creative Commons Zero 1.0Instagram: https://www.instagram.com/euproduccio...YouTube: https://www.youtube.com/channel/UCo9j...Información Publica de Registro: https://www.safecreative.org/work/180..."Infrequently Two"by Martijn de Boer (NiGiD)2018 - Licensed underCreative CommonsAttribution Noncommercial (3.0)*La Escuela Internacional del Realismo Mágico (EIRM) es una experiencia académica de codiseño de la Universidad del Magdalena junto con Outliers School, desde el caribe colombiano hacia toda Iberoamérica. La EIRM es la plataforma física y digital que contiene una lista de iniciativas y visiones de cambio basadas en la ideación ágil.

In this episode, Wes and Todd visit with Chicano Muralist, Leo Tanguma. Leo talks about growing up in Beeville, Texas and what set him on his path to becoming an artist, meeting the great Muralist, David Alfaro Siqueiros, and how it influenced his work, and discusses some of his incredibly powerful and significant murals like "Rebirth of Our Nationality".Join us for this fantastic episode with Leo Tanguma, Artist, Muralist, and Sage, as he recounts stories about his life, gives us some history lessons and imbues us with his words of wisdom. You can check out Leo Tanguma's murals, paintings and writings via his website:https://www.leotangumachicanomuralist.com

A propósito del centenario de la creación del Partido Comunista Mexicano te presentamos una entrevista con la periodista y docente mexicana Carmen Galindo, quien nos habla de la labor cultural de los intelectuales que simpatizaban con esta ideología. Escucha las voces de personajes como Emilio “El Indio” Fernández, Seki Sano, José Revueltas, Manuel Maples Arce, David Alfaro Siqueiros, Vicente Lombardo Toledano, Germán List Arzubide y Wenceslao Roces Suárez, quienes contribuyeron en la formación de este partido.

En esta clase nuestros docentes, Ramón, Wilberth y Rodrigo, hablarán sobre la vida de David Alfaro Siqueiros, mostrarán como superar a un ex y platicarán de una gallina que se quedó sin cabeza.

We saw Sorry to Bother You and it was THE BEST MOVIE and THE ONLY MOVIE! We celebrate Chairman Boots Riley’s new masterpiece. We try to process the race and gender roles depicted in the film, but we’re way more excited to do a working class analysis. We’re now offering bonus materials on our Drip … Continue reading "Episode 8 – Sorry to Bother You"

Esta es la historia de Frida. Una artista volcada a retratarse a sí misma, a mostrar su dolor. Con un estilo muy personal y al mismo tiempo impregnado de las tradiciones del arte y el folclore mexicanos, la pintura de Frida revela una inventiva y un manejo del color de particular riqueza. Una mujer militante comunista discorde con las rigideces stalinistas, inválida desde la adolescencia, amputada de una pierna más tarde, madre frustrada que sublimó sus sufrimientos en una obra pictórica obsesivamente inclinada al autorretrato. El arte revolucionario no es solamente aquel que ilustra la problemática social, sino también el que recoge la interioridad del hombre, el que revela los intrincados mecanismo de la conciencia y del mundo del inconsciente. En esa línea se ubican la producción plástica de Frida Kahlo, y el propio Leduc. Ficha técnica: Dirección: Paul Leduc. País: México. Año: 1984. Duración: 108 minutos. Intérpretes: Ofelia Medina (Frida), Juan José Gurrola (Diego Rivera), Salvador Sánchez (David Alfaro Siqueiros), Max Kerlow (Leon Trotsky).

En una charla transatlántica, Jorge Ramírez y Juan Toledo, en Londres, y Adriana Corredor, en Ciudad de México, platican con el pintor y retratista Enrique Estrada sobre la revolución mexicana y los origines del muralismo; la conexión de éste con la literatura del Boom latinoamericano y el papel que el incorregible David Alfaro Siqueiros jugó en la creación del impresionismo abstracto estadounidense. Enlaces http://www.enrique-estrada.com/

THE MANTON FOUNDATION OROZCO LECTURE James Oles, Senior Lecturer, Art Department, and Adjunct Curator of Latin American Art, Davis Museum, Wellesley College In 1921, Mexican painter David Alfaro Siqueiros called on his fellow artists to "absorb the synthetic energy" of pre-Columbian civilizations while "avoiding lamentable archaeological reconstructions." This lecture explores the diverse ways that muralists envisioned the architecture of ancient American cities in several murals created in the United States in the 1930s, including Orozco's celebrated frescoes at Dartmouth.

THE MANTON FOUNDATION OROZCO LECTURE James Oles, Senior Lecturer, Art Department, and Adjunct Curator of Latin American Art, Davis Museum, Wellesley College In 1921, Mexican painter David Alfaro Siqueiros called on his fellow artists to "absorb the synthetic energy" of pre-Columbian civilizations while "avoiding lamentable archaeological reconstructions." This lecture explores the diverse ways that muralists envisioned the architecture of ancient American cities in several murals created in the United States in the 1930s, including Orozco's celebrated frescoes at Dartmouth.

The Somnambulist Rufino Tamayo, 1899--1991 1954 Size: 39 1/2 in. x 31 1/2 in. (100.3 cm x 80 cm) Anonymous gift, 1964:130 An avid collector, Tamayo acquired art that today forms the core of two museums in Mexico: one in Oaxaca that displays pre-Columbian art and another in Mexico City that presents modern and contemporary art. These interests are found in his own works, which incorporate traditional Mexican imagery, yet are infused with the spirit of contemporary Surrealism. Tamayo created both easel paintings and large-scale murals. He was a contemporary of the Mexican muralists Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros, but he explored abstraction to an extent not attempted by these others. The Somnambulist reveals Tamayo's interest in developing a highly original style in its rendering of a sleepwalker with angular Cubist shapes and bold hues of orange and blue.