Here’s a thoughtful post about how museums are responding to Covid-19 and the benefits to us, the public. This is from LSE’s Impact of Social Science Blog
The Adoration of the Magi (detail), Simon Bening, about 1525–30. Tempera colors, gold paint, and gold leaf on parchment, 6 5/8 × 4 1/2 in. The J. Paul Getty Museum, Los Angeles, Ms. Ludwig IX 19, fol. 36v
An important exhibition at the Getty analyzes representations of Blacks in scenes of the Adoration of the Magi. Read about the exhibition here: Race and Representation in the Nativity Scene
Art and water: in the classroom. From Art Agenda’s Art and Education blogs.
Torrance Art Museum just released their catalog in PDF for the Pacific Standard Time LA/LA exhibition (2017-2018): The Cuban Matrix. This exhibition focused around digital media exchange: new media, user interface, archiving, immigration, global exchange, works in/on paper, video, installation, etc. And, learn about El Paquete Semanal— USB-archive-exchange, an “offline digital marketplace” in a weekly terabyte paquet.
Here’s the PDF of the catalog: The Cuban Matrix catalog. Torrance_Art_Museum
Check out this article from the Guardian: Award-winning Latin American Photography – in pictures!
Consider the migrant experience – the human experience – in the US/Mexico border region expressed in small- and large-scale visual images.
Miracles on the Border: Retablos of Mexican Migrants to the United States at the Princeton Art Museum. Retablos, also known as ex-votos are small (typically) tin paintings depicting miraculous interventions into personal tragedies and misfortune.
Karlito Miller Espinosa, an internationally renowned conceptual artist and 2019 graduate of the MFA program at the University of Arizona, has focused on border issues in a number of large-scale installations. Have a look here.
This mural cycle was painted by faculty and students from the National Institute of Fine Arts (INBA), Mexico, 1958-59. The cycle is located in the interior courtyard of the Damián Carmona Boarding School in San Luis Potosí, Mexico. The school was founded in the 19th century for the education of children of local mine and farm workers – it is still operating and continues to serve a very important community service.
You can see that the student painters had certainly looked very carefully at the work of Diego Rivera, David Alfaro Siquieros and José Clemente Orozco in Mexico City!
A group of us participating in the two-day, bi-national conference on Shared Cultural Heritage in June, 2019 at the Colegio the San Luis Potosí (México) were treated to a tour of the school and mural. The various scenes in the mural depict historical figures, local cultural practices, as well as activities of students and teachers at the school.