The feminist street art from the western part of Mexico The art of Mónica Barajas (original) (raw)
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The Female Voice in the Mexican Story: The Murals of Fanny Rabel, Regina Raull, and Valetta Swan at the Museo Nacional de Antropología, 1963-1964., 2020
The construction of the Museo Nacional de Antropología (National Anthropology Museum) in 1964 symbolized the results of the nation's economic growth and served as the long-awaited answer to Mexico's desire to properly conserve and display its pre-Columbian past, in order to prove its growing national power and pride to a bourgeoning global audience. During its construction, the institution hired the largest group of women muralists for a federal project. While the commission of this project was meant to be strictly apolitical and purely narrative, the women muralists of the MNA were still successful in creating and promoting radical political and gender-related content. Continuing the legacy of the Mexican Mural Renaissance, these groups of murals highlight the historical, spiritual, and cultural importance of women in Mexican history, a story that was continually developing in the 1960s. This thesis focuses on three of these artists who most explicitly inserted the female narrative into their works, challenging the male-dominated areas of art, culture, and shaping of the national story. These examples include Fanny Rabel's La ronda en el tiempo (The round of time) (1964), Regina Raull's La educación del niño en la época mexica (The Education of the child in the pre-Hispanic era) (1966), and Valetta Swann's Las delicias (The Delights) (1964). The murals of the MNA do more than just create a state-mandated message; they push the boundaries of art as a tool for social consciousness and a testimony to the importance of women's art in Mexican art history.
Latina Art Through the Exhibition Lens Radical Women - Latin American Art.pdf
Abstract: This study analyzes a new exhibition on insufficiently recognized, major Latina artists, left out of the discourses on Latin American and U.S. Chicana/o and Latina/o art. Specific examples and background history for the artists is provided by the authors (also the exhibits' curators), with attention to archives and the fields of art history and Chicana/o and Latina/o studies; concluding interrogations for future studies. “Latina Art through the Lens of Radical Women: Latin American Art, 1960-1985” (co-authored with Marcela Guerrero), Diálogo, Center for Latino Research, DePaul University, Chicago, Fall 2017.
Mexican Women Artists 19th Century
Often overlooked in surveys of modern Mexican art and overshadowed by the fame of 20th-century painters such as María Izquierdo and Frida Kahlo, women artists in 19th-century Mexico played an important role in bridging tradition and modernity. Women faced challenges in receiving an art education as the cultural establishments of 19th-century Mexico were fairly conservative and closed to women. Artistic institutions such as the Academia de S. Carlos, founded in 1781, were based on a traditional European art curriculum that followed the hierarchy of the genres. These artists often specialized in genres that were traditionally associated with women such as still life, flower painting, and reproductions after Renaissance and Baroque artists such as Raphael and Bartolomé Esteban Murillo and 18th-and 19th-century artists such as Jean-Auguste-Dominique Ingres and Pelegrín Clavé.
Without Restraint: Works by Mexican Women Artists from the Daros Latinamerica Collection, 2016
From a woman’s perspective in Mexico: provocative works of Latin American Conceptualism Women artists in Mexico present their lifeworld from a decidedly female point of view and respond to international artistic movements with very different approaches: works by Teresa Serrano (*1936), Ximena Cuevas (*1963), Betsabeé Romero (*1963), Teresa Margolles (*1963), Claudia Fernández (*1965), Melanie Smith (*1965), and Maruch Sántiz Gómez (*1975) constitute the core of this publication. The photographs, videos, objects, and installations from the holdings of the Daros Latinamerica Collection in Zurich take a subversive look at Mexico’s national identity. The works call prevailing hierarchies of power into question, including their associated traditional functions as well as the social spaces of women within Mexican society. The apparent banality of everyday things and actions—both in the domestic-private as well as the urban-public sphere—experiences new, deeper meaning and is in part ironically broken. Exhibition: Kunstmuseum Bern 3.6.–23.10.2016 Catalog Edited by Valentina Locatelli Publishing house: Hatje Cantz With texts by Matthias Frehner, Valentina Locatelli, Alma Ruiz, and interviews with Hans-Michael Herzog, Maruch Sántiz Gómez, Teresa Serrano and Betsabeé Romero Edition in German and English; 176 pages, 64 images. *** Aus der Perspektive der Frau in Mexiko: provokative Arbeiten des lateinamerikanischen Konzeptualismus Künstlerinnen in Mexiko präsentieren ihre Lebenswelt in dezidiert weiblicher Sicht und antworten auf internationale künstlerische Strömungen mit ganz eigenen Ansätzen: Arbeiten von Teresa Serrano (*1936), Ximena Cuevas (*1963), Betsabeé Romero (*1963), Teresa Margolles (*1963), Claudia Fernández (*1965), Melanie Smith (*1965) und Maruch Sántiz Gómez (*1975) bilden den Kern dieser Publikation. Die Fotografien, Videos, Objekte und Installationen aus dem Bestand der Daros Latinamerica Collection in Zürich werfen einen subversiven Blick auf die nationale Identität Mexikos. Die Arbeiten stellen herrschende Machthierarchien und die ihnen zugeordneten traditionellen Funktionen sowie die sozialen Räume von Frauen innerhalb der mexikanischen Gesellschaft in Frage. Dabei erfährt die scheinbare Banalität alltäglicher Dinge und Aktionen – sowohl im häuslichen-privaten als auch im urban-öffentlichen Bereich – eine neue, tiefere Bedeutung und teils ironische Brechung. Ausstellung: Kunstmuseum Bern 3.6.–23.10.2016
Reflections of Feminism in Contemporary Mural Painting between Occidental and Oriental societies
The Academic Research Community Publication (ARChive), 2017
Feminism as a global movement was and is still working on achieving women rights & liberation in different ways and by using different tools. Art in general and mural painting as a public art in specific, are very eloquent tools to help present feminist causes to different societies. These societies vary from a nation to another, from a culture to another, depending on the extent of suffering that women endure and also depending on how strong the feminist movement is in that particular society. Despite the fact that feminism is a global movement, each society's identity is reflected differently in such kinds of arts, especially when looking at occidental and oriental worlds where ethics and traditions are distinctly different. These differences shall be normally reflected in contemporary public art, like in subjects, messages, styles, and even concerning the amount of the architectural or structural available areas for such kind of arts. This is what the researcher will try to clarify through a kind of analytical comparison between occidental and oriental societies concerning the feminist movement. This includes its murals as a public art, especially in Egypt where feminist public art can be considered limited, the matter that may lead to some significant conclusions about the importance of such art, its role and its effect on the society.