AZ -- Phoenix Art Museum -- Exhibit: Border Crossings: Western American and Latin American Art:
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Description of Pictures: Border Crossings: Mexico and the American Southwest
May 27, 2017 - May 25, 2018
Border Crossings: Mexico and the American Southwest represents a cultural conversation between Mexico and the United States. Paul Pletka’s triptych introduces this installation, a monumental work inspired by Mexico’s Spanish Colonial and Pre-Columbian heritage as well as contemporary Mexican-American culture. Once part of colonial Spain and then Mexico, the American Southwest in part shares this legacy.
Four broad themes trace common links among this selection of artworks created between 1916 and 1950: women artists, landscape, indigenous subjects, and portraits. Women artists were pioneering modernists, though often under-recognized in their day, and represent a diversity of unique visions. The border between Mexico and the United States was a permeable one, and artists’ landscapes celebrate our shared geography and natural environment. Indigenous subjects were depicted by artists with different aims. Some celebrated indigenous heritage, while others produced romantic portrayals for the tourist market. In portraiture, both anonymous subjects and real individuals were portrayed with great dignity. Crossing borders affords opportunities to explore shared artistic approaches, both here and there.
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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. " ") are described as follows:
PAMBOR_170714_001.JPG: Border Crossing
PAMBOR_170714_004.JPG: Rufino Tamayo
Two Figures in Red, 1973
PAMBOR_170714_008.JPG: Barbara Hepworth
PAMBOR_170714_012.JPG: Border Crossings
Mexico and the American Southwest
Border Crossings represents a cultural conversation between Mexico and the United States. Paul Pletka's triptych introduces this installation, a monumental work inspired by Mexico's Spanish Colonial and Pre-Columbian heritage as well as contemporary Mexican-American culture. Once part of colonial Spain and then Mexico, the American Southwest in part shares this legacy.
Four broad themes trace common links among this selection of artworks created between 1916 and 1950: women artists, landscape, indigenous subjects, and portraits. Women artists were pioneering modernists, though often under-recognized in their day, and represent a diversity of unique visions. The border between Mexico and the United States was a permeable one, and artists' landscapes celebrate our shared geography and natural environment. Indigenous subjects were depicted by artists with different aims. Some celebrated indigenous heritage, while others produced romantic portrayals for the tourist market. In portraiture, both anonymous subjects and real individuals were portrayed with great dignity. Crossing borders affords opportunities to explore shared artistic approaches, both here and there.
PAMBOR_170714_016.JPG: Paul Pietka
Our Lord, The One Who is Flayed, 2004
PAMBOR_170714_021.JPG: Eanger Irving Couse
Watching for Game, not dated
PAMBOR_170714_026.JPG: Alfredo Ramos Martinez
Women Carrying Food, not dated
PAMBOR_170714_030.JPG: Bror Julius Olsson Nordfeldt
Corn Dance, Santo Domingo, c 1920
PAMBOR_170714_041.JPG: Ernest Martin Hennings
Fiesta Spectators, Taos, N.M.
PAMBOR_170714_044.JPG: Diego Rivera
Indian Woman Weaving, 1936
PAMBOR_170714_051.JPG: Ernest Martin Hennings
Taos Indian Chanters with Drum, c late 1930s
PAMBOR_170714_155.JPG: Rebecca Salsbury Strand James
Rest in Peace, c 1931-32
PAMBOR_170714_165.JPG: Georgia O'Keeffe
White Rose, 1928
PAMBOR_170714_169.JPG: Georgia O'Keeffe
The Apple, 1920-1922
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Wikipedia Description: Phoenix Art Museum
From Wikipedia, the free encyclopedia
The Phoenix Art Museum is the Southwest United States' largest art museum for visual art. Located in Phoenix, Arizona, the museum is 285,000-square-foot (26,500 m2). It displays international exhibitions alongside its comprehensive collection of more than 18,000 works of American, Asian, European, Latin American, Western American, modern and contemporary art, and fashion design. A community center since 1959, it hosts year-round programs of festivals, live performances, independent art films and educational programs. It also features PhxArtKids, an interactive space for children; photography exhibitions through the museum’s partnership with the Center for Creative Photography; the landscaped Sculpture Garden; dining and shopping.
It has been designated a Phoenix Point of Pride.
Opened in 1959, the Phoenix Art Museum is located on the Central Avenue Corridor.
Shortly after Arizona became the 48th state in 1912, the Phoenix Women’s Club was formed and worked with the Arizona State Fair Committee to develop a fine arts program. In 1915, the club purchased Carl Oscar Borg's painting Egyptian Evening for US$125 and presented it to the city of Phoenix to begin a community art collection. In 1925, the State Fair Committee expanded its community responsibilities and formed the Phoenix Fine Arts Association.
The next major advance in the local art community came during 1936, when the Phoenix Art Center was created under the auspices of the Works Progress Administration's Federal Art Project. Its director was the painter Philip C. Curtis. Its success led to the creation in 1940 of the Civic Center Association, which set about raising funds and planning a building on a 6.5-acre plot donated by the heirs of Adolphus Clay Bartlett. These heirs included Maie Bartlett Heard, who with her husband Dwight B. Heard founded the Heard Museum.
In the early 1950s, Alden Dow, an architect, was retained by the Board of Trustees to design a complex that would house the Phoenix Public Library, the Phoenix Little Theater (now the Phoenix Theatre) and the new Phoenix Art Museum. The structural engineering firm chosen for this project was Severud Associates. To coordinate this endeavor, the Phoenix Fine Arts Association named the Museum’s first Board of Trustees in 1952 and its first director in 1957.
The museum was officially dedicated on November 21, 1959. Two years later, the board announced plans for an expansion, and in 1965 the museum was enlarged from 25,000 square feet (2,300 m2) to 72,000 square feet (6,700 m2). Additional expansions, led by design architects Tod Williams Billie Tsien Architects of New York, occurred in 1996. The Museum more than doubled its size with new exhibition galleries, a 300-seat public theater, a research library, studio classroom facilities, the PhxArtKids Gallery, and a café. Most recently, in 2006, the museum saw the opening of the Ellen and Howard C. Katz Wing for Modern Art, the Heather and Michael Greenbaum Museum Lobby, an expanded museum store and the 40,000-square-foot (3,700 m2) Bennett and Jacquie Dorrance Sculpture Garden. The museum's growth has been funded, in part, by successful City of Phoenix Bond Elections and a voter-approved bond.
In the last 50 years, the Museum has hosted more than 400 exhibitions from all over the world, grown the collection to more than 18,000 works of art, and been visited by millions, including over one million school children.
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