The National Museum of Mexican Art – Chicago

Surrounding Kahlo:

Works from the Permanent Collettion

March 5, 2022 – January 15 , 2023 

Rubin & Paula Torres Gallery

 

 

 

Dear Adolfo:

How are you?

 

I'm very pleased to include the following artwork you donated, in an exhibition I curated titled Surrounding Kahlo: Works from the Permanent Collection.  

 

Luz Fabila Montes de Oca (b. 1905 Amanalco de Becerra, Estado de México - d. 1984 Mexico City), Retrato con rebozo y chalina (autorretrato) / Portrait with Headscarf and Shoulder Wrap (self-portrait), 1941, oil on paper / óleo sobre papel, National Museum of Mexican Art Permanent Collection, 2015.116, Gift of Adolfo Cantú on behalf of CYDT Colección de Arte Cantú y de Teresa in memory of Federico Cantú and Luz Fabila Montes de Oca

 

For more information, please visit:

https://nationalmuseumofmexicanart.org/events/surrounding-kahlo-works-from-the-permanent-collection

 

The official reception will be on Friday, April 1, 2022 from 6:00 - 8:00PM.  Please check the NMMA newly designed website (www.nationalmuseumofmexicanart.org) as we get closer to April 1st as details regarding the reception are evolving.

 

I hope if your travel plans include Chicago, you'll consider a visit to NMMA as this exhibition has a very long run.

 

Sincerely,

 

Rebecca D. Meyers

Permanent Collection Curator

 

 

The National Museum of Mexican Art is thrilled to announce the opening of Frida Kahlo, Her Photos. The exhibition comes from the archive of photographs that belonged to her personally and which were largely unknown. Now grouped together thematically into six sections by renowned Mexican photographer, curator and historian of photography in Mexico, Pablo Ortiz Monasterio, the exhibition reveals parts of the personal history of an artist, of a country and of a period. It is a photographic collage made up of images that allow us to discover new facets of a key figure in the 20th century.

 

 

 

The National Museum of Mexican Art – Chicago

Surrounding Kahlo:

Works from the Permanent Collettion

March 5, 2022 – January 15 , 2023 

Rubin & Paula Torres Gallery

 

(Detail) Ester Hernández (b. 1944), If This Is Death, I Like It (Si esto es la muerte, me gusta), 1991, serigraph / serigrafía, 11/70, NMMA Permanent Collection, 1993.14. Photo credit: Kathleen Culbert-Aguilar

 

Undoubtedly, the visage of Frida Kahlo has become the most instantly recognizable of all artists across time. Since her popularization in the 1980’s, she has been the subject of books, movies, an opera and a great deal of visual art created by others who have been moved by her paintings and life story. Drawn entirely from the Museum’s Permanent Collection, this exhibit explores works inspired by Frida Kahlo; the work of her students, known as “Los Fridos,” who learned from and surrounded her while she recovered at home in La Casa Azul; as well as familiar items that Kahlo chose to surround herself with such as arte popular, Mesoamerican artifacts and traditional clothing from her beloved Mexico.

Curated by Rebecca D. Meyers

 

Sin duda, el rostro de Frida Kahlo se ha convertido en el más reconocible al instante de todos los artistas a través del tiempo. Desde que su imagen se popularizó en los años ochentas, Frida ha sido el tema de libros, películas, una ópera y una gran cantidad de arte visual creado por otros artistas que han sido conmovidos por sus pinturas y su vida. Extraída enteramente de la Colección Permanente del museo, esta exposición explora obras inspiradas por Frida Kahlo; las obras de sus estudiantes conocidos como “Los Fridos”, quienes aprendieron y convivieron con ella mientras se recuperaba en su hogar “La casa azul”; así como con objetos familiares con los que Frida se rodeaba, tal como arte popular, utensilios mesoamericanos y el vestuario tradicional de su México querido.

Curado por Rebecca D. Meyers

 

 

Sponsors

BMO Harris
The Chicago Park District
The Joyce Foundation
Prince Charitable Trusts
Illinois Arts Council Agency

 

 

Hace una década Lupe Rivera me invito a firmar un acuerdo de colaboración con el Museo de Chicago ,  fue la época en la que el Museo presentaba una exposición y catalogo de mujeres en la pintura Mexicana , Carlos Tortolero fundador del Museo y Director del mismo nos invito a Expo Chicago y de ahí todo es historia ……..

 

El NMMA es un recinto que dedica de manera exponencial la presencia de el Arte Mexicano y de paso permite que nuestros conciudadanos que radican en los estados Unidos tengan un acercamiento a nuestra cultura y tradición , de ahí a que esta exposición  sumara una nueva y fructífera imagen de nuestro país 

En hora buena

 

Bo

WELCOME TO THE EXPO CHICAGO VIP PROGRAM

The VIP program offers an unparalleled list of special events and programming coinciding with the ninth edition of EXPO CHICAGO, the International Exposition of Contemporary & Modern Art. Highlights of the program include exclusive access to our VIP Preview Thursday, April 7, 2022, unlimited access the fair Friday, April 8 — Sunday, April 10, private access to the VIP Collectors Lounge, Exchange by Northern Trust: An Interactive Conversation Around the Art of Collecting programming, exhibition openings and receptions, curator-led tours, and studio visits.

With a strong list of international exhibitors, aligned events and exhibitions, along with our critically acclaimed programming and a robust VIP program — now is the time to make your plans for April in Chicago.

To better plan your trip, the following pages outline all that you need to plan your week in April. For assistance in planning your trip, or questions about the VIP Program or EXPO CHICAGO, please contact vip@expochicago.com.

Registration for VIP program events is now open.

Kindly register your interest to attend the events outlined below no later than Friday, March 25, as capacity is limited for certain events. You may register for a maximum of three events per day.

Once an event has reached capacity, you may still register your interest to attend by submitting your name to the event waitlist. Should space become available, you will be notified via email the week of March 28. EXPO CHICAGO will provide an email confirmation for all events registered via this portal shortly thereafter. Please expect attendance confirmations registered via third-party organizations to arrive separately.

Events and programming may be added over the next few weeks. Check back frequently for the most up-to-date events and programming schedule.

Join us for a private after-hours viewing of the OIM special exhibition, Joseph Lindon Smith: The Persepolis Paintings, as well as installations by internationally acclaimed contemporary artists Michael Rakowitz and Mohamad Hafez, on view in the Museum’s permanent galleries.

A night of discussion and concert surrounding the art of Bob Thompson and the artists that inspired his work - art that confronted the artistic tension of expression and protest. Performances by renowned Blues musician Katherine Davis and other special guests as they share their interpretation of selected Nina Simone songs and poetry readings.

Extended Hours & Performance

L1 is a new creative business accelerator and retail store located along historic Garfield Boulevard in Washington Park, operated and managed by Arts + Public Life (APL), an initiative of UChicago Arts. Housing three South Side-based, Black-owned businesses on the Arts Block inside of the historic first “L” station built in 1892, the L1 Retail Store opened on October 9, 2021 and exemplifies APL’s mission to spark culturally stimulated growth on the South Side of Chicago and increase opportunities for communities that have been left out of economic development. Learn more about the L1 fellows and their brands at shopl1.org.

Extended Hours

 

ZⓈONAMACO

 

ZⓈONAMACO LANZA $ARTE POWERED BY RALLY ZⓈONAMACO lanza su token comunitario, $ARTE, para desbloquear colecciones exclusivas de NFT de toda la World Wide Web, acceso a eventos VIP e inclusión en este nuevo movimiento Web3 que protege a todo el ecosistema artístico. En su intención de reinventarse y de atender temas de actualidad, ZⓈONAMACO lanza su propia criptomoneda dentro de la plataforma Rally.io. Este token comunitario podrá utilizarse para crear exclusivas y nuevas experiencias para la comunidad artística global, empoderando a los artistas y construyendo shared ownership para artistas, coleccionistas, galerías y amantes del arte de nuestro ecosistema. $ARTE es una criptomoneda enfocada en la comunidad, que ofrece la oportunidad de pertenecer a una economía digital exclusiva y personal a la que nadie más tiene acceso. Para unirte a la comunidad $ARTE, hay que crear una cuenta de Rally, plataforma internacional a la que acuden comunidades artísticas y creadores para crear tokens sociales y NFTs. ¡Para celebrar el lanzamiento, ZⓈONAMACO regalará $ARTE durante la feria! Solo hay que visitar el stand EJ18 localizado en ZⓈONAMACO EJES y registrarse con una cuenta de Rally en Rally.io/signup. El usuario recibirá sus monedas por correo electrónico y podrá utilizarlas para desbloquear colecciones NFT, eventos especiales, etc., en cuanto estén en su monedero digital  Si quieres saber más sobre $ARTE coin, únete el próximo viernes a las 17:30 en la sala de conferencias a la conversación 'Cripto y NFTs: Economías alternativas para artistas y proyectos independientes' con Tam Gryn, director artístico de Rally.io, y los artistas Amor Muñoz y Alonso Cedillo. La charla será moderada por Direlia Lazo, curadora de ZⓈONAMACO EJES. ¡Únete a la Comunidad - $ARTE!   Regístrate en Rally aquí

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  José Guadalupe  Posada  - Aniversario 2022

osé Guadalupe Posada, un grabador, ilustrador y caricaturista mexicano. Célebre por sus dibujos de escenas folclóricas, de crítica socio-política y por sus ilustraciones de calaveras, entre ellas La Catrina, celebremos el 170 aniversario 

 José Guadalupe Posada fue para Diego Rivera un intérprete del dolor, la alegría y la aspiración angustiosa de México. Fue el ilustrador de los cuentos y las historias, las canciones y las plegarias de la gente pobre. El combatiente tenaz, burlón y feroz. Posada nació en Aguascalientes el 2 de febrero de 1852, ciudad donde, dado su talento precoz, ingresó a los 12 años de edad a la Academia Municipal de Dibujo.

El futuro grabador se incorporó al taller de litografía de Trinidad Mendoza en León, Guanajuato. Ahí, de la publicidad comercial pasó a ilustrar los sucesos de la ciudad en periódicos como La Gacetilla, El pueblo caótico y La Educación.

Se forjaba así el camino que llevaría a Posada a influir en el muralismo, al Taller de la Gráfica Popular y a una generación de pintores encabezados por Diego Rivera, quien se asumió como su discípulo en el célebre mural "Sueño de una Tarde Dominical en La Alameda Central"

La evolución de José Guadalupe Posada está determinada por los trabajos de índole cultural con el impresor Venegas Arrollo, mientras que su ácida crítica a la desigualdad del Porfiriato y las aspiraciones de afrancesamiento de la burguesía naciente, la llevaba a cabo en publicaciones como Gil Blas cómico, El Popular o El Ahuizote, entre decenas de textos en que laboró.

Su producción, durante los próximos 25 años, alcanzaría alrededor de 15 mil piezas, entre grabados, ilustraciones y caricaturas.

Fusilados, almas en pena, borrachos perdidos, parricidios, matricidas, bailes populares, fragorosas peleas de barrio, escenas revolucionarias, rancheros, catrines, Zapata, Madero y su asesino Victoriano Huerta, fueron algunos de sus temas, a veces manejados como humor otras con una distancia descarnada.

Pasó de ilustrar las calaveritas de Día de muertos, a hacer de las calaveras, las calacas, la huesuda, la muerte acechante, la Catrina garbancera, protagonistas vívidas de las tradiciones mexicanas, que ahora son símbolo viviente de la identidad nacional. José Guadalupe Posada se desbarrancó en el dolor de perder a su joven hijo en 1908, habiéndose reído del mundo, fustigado a los tiranos, se dejó morir un aciago enero de 1913. 

con motivo del 170 aniversario del natalicio de José Guadalupe Posada (1852-1913), uno de los grabadores mexicanos más importantes de los siglos XIX y XX, se develó ayer la edición especial del billete de lotería del Sorteo Mayor 3834, que se realizará el primero de febrero del 2022  a las 20 horas en el edificio El Moro.

La Coordinación de Memoria Histórica y Cultural de México, el Instituto Nacional de Bellas Artes , instancia de la Secretaría de Cultura federal, en colaboración con la Lotería Nacional, develaron el billete conmemorativo como un homenaje y reconocimiento a Posada por su aporte al arte gráfico del país.

  The Dorian Sketchbook of Federico Cantú: Scenes from his Private Life

 

 

Part I: “Dorian”

 

1928

 

After living in Paris since 1924, Federico Cantú Garza – at that time a young painter who used the pseudonym "Dorian"- decides to visit Mexico for a short break in the spring of 1928. 

 

After the usual sea voyage, in third class and stopping in Cuba, he finally arrived in Veracruz in May 1928, proceeding by land from the port to Mexico City and arriving exhausted at his house in Calle de San Francisco, Colonia del Valle. In his baggage, made up mainly of clothing, art supplies, books, tools and even a couple of revolvers, the young master treasured Joyce’s Ulysses, Goethe’s Faust, and the well-known work of Oscar Wilde from which he took his artistic name.

 

His mother, the writer María Luisa Garza, "Loreley", who had been writing a series of novels for an entire decade, was pleased by the set of books that her favorite son decided to bring her in appreciation of her unstinting economic support which had allowed him to pay for his stay in Paris. 

 

Federico could not have imagined that he was arriving at precisely the moment that his mother’s life was about to turn completely around, leading her to leave Mexico. She intended to restart publication of her magazine entitled “Alma Femenina", which she began to publish around 1922 in San Antonio, Texas, prior to accepting an offer from José Vasconcelos to work in Mexico City.

 

Federico Cantú, "Dorian", intended to spend the summer in Mexico City before returning to France to continue working in his Montparnasse atelier, knowing that he had to choose between obtaining sufficient resources to continue living the bohemian lifestyle of Paris, or else to immediately accompany "Loreley" in her travels in the United States of America. Unexpectedly, a slight but sudden love interest would make him change his plans and decide to spend the summer with his fiancée in California.

 

His sudden decision was motivated by his mother’s intention to move to the United States and restart publication of “Alma Femenina", and especially because, just a few hours after returning to Mexico City, he realized that his mother was being courted by a handsome young essayist, poet and painter by the name of Alfonso Fabila Montes de Oca.

Part II: Los Angeles, California

 

1928-1929

 

That summer, Alfonso made an effort to ingratiate himself with the young Federico, publishing a series of his articles in the Mexico City newspapers and introducing him to his younger sister, Luz Fabila Montes de Oca. 

 

The triumphs of "Loreley" as part of the cultural project of José de Vasconcelos had already significantly changed the life of this family, which changes were exacerbated by the presence of Alfonso Fabila. For the first time, Federico had to face the reality of his mother’s romantic life, and did not much like the idea. To his dismay, Alfonso naively tried to take on the role of patriarch within the family structure, without realizing that María Luisa and Federico understood life from the perspective of the highest values of liberty and equality. Of course these principles were very different from those in force in Mexico at that time, especially for someone like Alfonso, who came from a family of nineteen siblings, whose hometown was Amanalco in the State of Mexico, and who acted as guardian of his younger sister. It will be remembered that both "Loreley" and "Dorian" had lived in the United States, and the latter had already had the experience of living in France.

 

Although Federico Cantú did not approve of his mother’s relationship with Alfonso Fabila, he was certainly interested in meeting and getting to know his sister Luz, with whom he began a relationship almost immediately. 

 

As an aside, one may see throughout Cantú’s work an extensive and intentional description and depiction of weapons, given that he was an avid collector of different types of rifles, pistols and revolvers. His collection was such that four decades later these weapons may be seen as part of the decoration of the chimney of his house. Years later and referring to Fabila, Cantú recalled that “No matter how many times I insisted that he return that beautiful pistol I brought back from Paris, Alfonso never gave it back.”

 

In June 1928, with the decision to move to California, Federico and Luz saw the opportunity to join in the plans of "Loreley", and decided to formalize their love, signing a religious letter which committed them before God, in the middle of the Cristero War. That summer, both of them crossed the border and arrived in Los Angeles, without paying much attention to the lack of means which is all too common among artists. 

 

"Loreley’s" magazine was successfully restarted and Federico began to exhibit his work. The young master survived by translating newspaper articles and started becoming known for paintings done on commission, soon being mentioned in newspapers of the time as promising visual artist who quickly established relations with the most important museum directors in the United States. 

 

Interviews and publications arose at the same time as art shows. Arthur Miller, José Vasconcelos, Luis Cardoza y Aragón and Edward Doro, among others, wrote of the artist’s triumphs.

 

 

 

 

Birth of Ícaro 

 

This promising year would rapidly change the destiny and vision of the young artist. Federico and Luz were married in a civil ceremony in Los Angeles. He also received a commission to paint a mural in Pasadena and began a series of works referencing the work of Goethe, Lord Byron and of course Oscar Wilde, with evident allusions to the theme of Dorian Grey.

 

Cantú so identified with these works that when his son was born on May 1 of that same year, he decided together with his wife to register the birth of his son under the name of Ícaro (Euferion), which was the name given by Johann Wolfgang von Goethe to Byron in his work, referring to him as the disobedient son. 

 

As Federico himself tells in his letter of April 29 to Alfonso Fabila, at this time the painter was immersed in painting the canvas entitled Homenaje a Lord Byron- Cantú Y de Teresa Collection- precisely that in which he included the figure of Ícaro.

 

Luz Fabila herself said, in a letter to her brother Alfonso and in her memoirs, that at that time Federico signed a large part of his work with the pseudonym "Dorian", in reference to the mythical figure of Dorian Grey. Our knowledge that he used this signature comes from these writings, as the pictorial work dating from this period in Cantú’s life has almost completely disappeared.

 

Federico Cantú admired the sketchbooks in fashion at that time among the masters of Montparnasse. Thus, he began such a book in the summer of 1929, without realizing that this book, bound in leather by his wife Luz, would serve as the preamble to future presentations in an upcoming stay in Paris.

 

The sudden crash of 1929 would change the destiny of an entire generation of Americans, as well as ruining the dreams of many immigrants, including those of Federico Cantú and Luz Fabila.

 

The crash itself did not prevent a series of shows and sales of Federico’s work, but his mother "Loreley’s" magazine suffered a serious setback and ceased publication in December of the same year.

Expo Monterrey NL 

Carpeta Dorian 

2018