100 anos: revolucion Mexicana 1910-2010 (100 years Mexican revolution 1910-2010)

This is a final project paper based on the celebration of the centennial of the Mexican Revolution 1910-2010. 00 aiios, Revolution Mexicana 1910-2010 is a multimedia exhibition inspired by the celebration of the Centennial of the Mexican Revolution. The exhibition is composed of a series of magnetic figures that represent the artist's family dressed as Mexican revolutionaries and a series of paintings inspired by photographs of the Mexican Revolution. The exhibition is also accompanied by a historical video provided by the Mexican Consulate in Salt Lake City that narrates the story of the Mexican Revolution. 100 anos creates a space whose objective is to invite people to learn of and reflect on Mexico's Revolution by adapting it to the present and playfully personifying the revolution.

100 ahos REVOL UCION MEXICANA 1910-2010 100 years MEXICAN REVOLUTION 1910-2010 by Luz del Carmen Paredes Almeida de White A final project paper submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts Department of Art and Art History The University of Utah August 2010 Copyright © Luz del Carmen Paredes Almeida de White 2010 All Rights Reserved THE UNIVERSITY OF UTAH COLLEGE OF FINE ARTS SUPERVISORY COMMITTEE APPROVAL of a final project paper submitted by Luz del Carmen White This final paper has been read by each member of the following supervisory committee and by majority vote has been found to be satisfactory. /g <t / c ■ ' Chair: R.D. (Sam) Wilson f-W-io _ ElfnrSlitrornberg THE UNIVERSITY OF UTAH COLLEGE OF FINE ARTS FINAL READING APPROVAL I have read the final project paper of Luz del Carmen White______________ in its final form and have found that (1) its format, citations, and bibliographic style are consistent and acceptable; (2) its illustrative materials including figures, tables, and charts are in place; and (3) the final manuscript is satisfactory to the Supervisory Committee and is ready for submission to the Graduate School. Date Chair, Supervisory Committee Approved for the Major Department Bjian inap > Ch ir Approved for the Graduate Council UNIVERSITY OF UTAH ABSTRACT 100 aiios Revolution Mexicana 1910-2010 100 years Mexican Revolution 1910-2010 by Luz del Carmen Paredes Almeida de White Chairperson of the Supervisory Committee: Professor R.D. Wilson Department of Art and Art History This is a final project paper based on the celebration of the centennial of the Mexican Revolution 1910-2010. 100 aiios, Revolution Mexicana 1910 - 2010 is a multimedia exhibition inspired by the celebration of the Centennial of the Mexican Revolution. The exhibition is composed of a series of magnetic figures that represent the artist's family dressed as Mexican revolutionaries and a series of paintings inspired by photographs of the Mexican Revolution. The exhibition is also accompanied by a historical video provided by the Mexican Consulate in Salt Lake City that narrates the story of the Mexican Revolution. 100 anos creates a space whose objective is to invite people to learn of and reflect on Mexico's Revolution by adapting it to the present and playfully personifying the revolution. 3 TABLE OF CONTENTS Abstract.............................................................................................................................................................3 Table of Contents........................................................................................................................................... 4 List of Images.................................................................................................................................................5 Acknowledgements........................................................................................................................................6 Title of Exhibition.......................................................................................................................................... 7 Introduction..................................................................................................................................................... 8 Chapter I: The Centennial of the Mexican Revolution 1 9 1 0 -2 0 1 0 ................................................10 Understanding History...................................................................................................................10 A Female Mexican Artist in the Revolution Centennial........................................................11 Imagery and the Mexican Revolution Apparel........................................................................ 12 Chapter II: Revolution on Steel.................................................................................................................16 Experimentation and Conceptualization....................................................................................16 Process and Materials....................................................................................................................17 Objects and Symbolism.................................................................................................................29 Chapter III: Revolution on Wood............................................................................................................. 31 Influences: 20th Century Modernism in Mexico......................................................................31 Texture of the Mexican Revolution............................................................................................32 Painting the Mexican Revolution.................................................................................................33 Conclusion................................................................................................................................................... 34 Exhibition Statement.................................................................................................................................. 35 Images........................................................................................................................................................... 36 Bibliography.................................................................................................................................................66 4 LIST OF IMAGES 1. Revolution 1, mixed media on steel, 18 14 x 24 14", 2010. 2. Revolution 2, mixed media on steel, 18 14 x 24 14", 2010. 3. Revolution 3, mixed media on steel, 18 Vi x 24 !4", 2010. 4. Revolution 4, mixed media on steel, 18 !4 x; 24 14", 2010. 5. Revolution 5, mixed media on steel, 18 14 x; 24 14", 2010. 6. Revolution 6, mixed media on steel, 18 14 x: 24 14", 2010. 7. Revolution 7, mixed media on steel, 18 14 x: 24 14", 2010. 8. Revolution 8, mixed media on steel, 18 14 x: 24 14", 2010. 9. Revolution 9, mixed media on steel, 18 14 % 24 14", 2010. 10. Revolution 10, mixed media on steel, 18 14 x 24 14", 2010. 11. La Soldadera, acrylic on wood, 36 x 48", 2 d 0. 12. Revolucionario I, acrylic on wood, 36 x 48'', 2010. 13. Emiliano Zapata, acrylic on wood, 36 x 48'', 2010. 14. Villa con Ninos, acrylic on wood, 36 x 48", 2010. 15. Revolucionario II, acrylic on wood, 36 x 48!", 2010. 16. 100 anos Exhibition 1, 2010. 17. 100 anos Exhibition 2, 2010. 18. 100 anos Exhibition 3, 2010. 19. 100 anos Exhibition 4, 2010. 20. 100 anos Exhibition 5, 2010. 21. Montessori children playing with the Magnetic Series, 2010. 22. Montessori group playing with the Revolution figures, 2010. Documentation on Mestizo Exhibition 23. Peinando a las Ninas, acrylic and oil on wood, 36 x 48", 2009. 24. Jugando con Diego, acrylic and oil on w ood, 36 x 48", 2009. 25. La Comida, acrylic and oil on wood, 36 x 48", 2009. 26. De Paseo con el Jaguar, oil on wood, 36 x 48", 2009. 27. El Desayuno, acrylic and oil on wood, 36 x 48", 2009 28. Nino con Donas, acrylic and oil on wood, 36 x 48", 2009. 29. Casimiro Elias, oil on wood, 8 x 10", 2009­30. Maria Patrocinio, oil on wood, 8 x 10", 2009. 31. Elias y Carmen, oil on wood, 8 x 10", 2009. 32. Maria Enriquez, acrylic on wood, 19 x 20", 2009. 33. Folklorico Exhibition at Mestizo 1, 2010. 34. Folklorico Exhibition at Mestizo 2, 2010. ACKNOWLEDGEMENTS I dedicate my work to my family, as without their support I may not have been able to survive this period of intense work and effort. To my husband, Curtis White, who has always been at my side encouraging me to achieve my academic goals. He has always believed in me and has been patient, positive and supportive. To my parents, Daniel Paredes and Carmen Almeida for their love and support. To my brothers, sisters, nieces and nephews, who have been the inspiration and motivation in my work. To Shelbey Peterson, Jodi Paterson, Megan Hallet, Jessica Peterson and all of my friends at the UMFA Utah Museum of Fine Arts, from whom I have learned so much about how the inner workings of Museum and about art. They have all been a great support during my internship there and I am very grateful for that experience. To Susan Vogel, author of the book Becoming Pablo O 'Higgins, for our collaboration in the Ken Sanders exhibit and for her knowledge and love for Mexico's art and people. To Nicholas Mendoza, Michelle Kurtz, Van Chu and all of my other friends from the program for their friendship and unconditional support. To my committee members, John Erickson, Elena Shtromberg and Sam Wilson, for their knowledge and experience in directing the expansion of my artistic expression. To all the other professors and staff of the Art and Art History Department for their instruction and assistance. To my friends Lorena and Mark Alvarez, and photographer Edgar Gomez, for their support and appreciation for the arts. To the Mexican Consulate in Salt Lake City, especially Guido Arochi and Gloria Tapia, who provided the Mexican Revolution videos and for supporting Mexican art and culture in the state of Utah. To Ruby Chacon of the Mestizo Institute for her support with my first solo exhibition. To Francia Benson for the documentary. To Jose Herrera, for his expert welding with the steel pieces in my exhibition. To Francisco Sotelo and Cynthia Barajas for their support. To the Hispanic media with whom I have had the pleasure to work, to with, Marcela, Jaime and Rossina from Univision Salt Lake City, Elena and Nelson from Bustos Media, Walter, Marisela and Cesar from Telemundo, Tania Navarro from El Observador, BYU International Channel, Ahora Utah, 1550 AM Radio Exitos and all of the other media that supported the Las Artes de Mexico exhibition at the UMFA and with whom I have developed a friendship during the past months. Thank you. 6 100 anos Revolution Mexicana 1910-2010 100 years Mexican Revolution 1910-2010 INTRODUCTION 100 anos is a multimedia exhibit based on the celebration of the centennial of the Mexican Revolution (1910-2010). Composed of historical videos, paintings and a magnetic series, the exhibit's objective is to create a space in which the audience can reflect on the Revolution. This exhibition explores revolutionaries from the past as well as the present. The first component comprises the videos that narrate the way the Revolution unfolded, showing poignant scenes where men, women and even children lived through the Revolution. The black and white films stand as a witness of the past and create a sense of traveling back in time. They also depict the many sacrifices made during the Revolution that created a new reality and identity for Mexico. Former Mexican President Vicente Fox declared: "The Revolution made possible that all of the peasants could have land, that all of the workers could fully exercise their rights, so that the nation could have dominion over its natural resources and so all Mexicans could have access to education." 1 It is my hope that the people watching this video can appreciate the sacrifices made by the revolutionaries and have a greater appreciation of our freedoms and civil responsibilities. The second component of this exhibition is the magnetic series. This series is an experimental approach in making a contemporary representation of a historical theme. I simultaneously placed my family in a historical and a contemporary context, historical because of the theme and contemporary by personalizing the Revolution and by incorporating industrial materials such as steel and spray paint. Incorporating my family into this motif was a very 1 Introduction to the Mexican Revolution, Message o f the President o f the Mexican United States, SEP (Mexico, D.F.: Fox y GarriaDiego, 2006). exciting project, and gave it significant personal meaning. During the opening reception, I greatly enjoyed observing my nieces and nephews playing with the movable pieces. They came up with a variety of compositions, some more traditional and conservative, and others more playful and daring. The third element of the exhibition was the series of paintings depicting revolutionaries from the Mexican Revolution. By using dark colors and textured surfaces, the objective was to create a contemporaneous appearance and the passage of time. The textured surface was created by using textured paint and was influenced by 20th century Mexican artists Rufino Tamayo and Maria Izquierdo. The prominent revolutionaries Emiliano Zapata and Pancho Villa are represented in this series, as well as anonymous two other revolutionaries and a soldadera (female soldier). This multimedia exhibition represents a space of learning and reflection of the Mexican Revolution, a place where history and art meet where the past and the present encounter each other. While the exhibition is highly personal, I also sought to create an exhibition that would benefit the community and I contend that the theme of the Revolution does just that. The idea was to create an educational and artistic space composed of historic elements like the Mexican Revolution videos, the more traditional textured paintings depicting the Mexican revolutionaries and at the same time allowing room for creative contemporary expression through the magnetic series with which I personalize the Mexican Revolution by dressing my family up as Mexican revolutionaries. 9 CHAPTER 1 CENTENNIAL OF THE MEXICAN REVOLUTION 1910-2010 Understanding History On November 20th of each year, the Mexican Revolution is celebrated as a national holiday in Mexico. This year it carries special importance due to the fact that it is the Centennial of the Mexican Revolution. Agustin Casasola's photographs of the Revolution and the Mexican government historical videos that narrate the story of the Revolution amaze me. When I look at this documentation of the Revolution, it feels as if it occurred ages ago. Iconic images of Zapata and Villa are among the most popular imagery of the Revolution. Other icons that symbolize the revolution include the carrilleras, or diagonal ammunition straps that revolutionaries wore across their chest, and soldaderas, who embody the fact that both women and men participated in the Revolution and would be trained to use guns and rifles. But what is the relevance of the Mexican Revolution to the present? Certainly, it is one of the most significant events in modem Mexican history and is engrained in Mexican identity. Moreover, in explaining the importance of reviewing history, President Fox declared: "History is our great educator; it is a discipline that allows us to build a link between the past and the present. Thanks to history, we can learn about where we came from and understand better the society we are building. History has always been a tool from which we learn valuable experiences and examples that prepare us to overcome the challenges of the present." 2 Introduction to the Mexican Revolution, Message o f the President o f the Mexican United States, SEP (Mexico, D.F.: Fox y Garci'aDiego, 2006). 10 I sought to merge history with the present by incorporating the Revolution into my present identity in my new series. By doing this I create a tension between past and the present. The past, referring to the history of the Revolution and in this case, the use of the revolutionary clothing and the present is represented by my family's portraits. I would ask myself about how the Revolution has affected my family in the past and in the present. A Female Mexican Artist in the Revolution Centennial In speaking with my parents about how the Revolution affected our ancestors, I learned that while their grandparents lived through the Revolution, they did not participate in the fighting. My father's maternal grandfather, Encamacion, was a jeweler and his paternal grandfather, Tomas, worked for the government. On my mother's side, her paternal grandfather Casimiro Elias was a landowner and whose brother was a Congressman. Her maternal grandfather Juan Jose helped manage a farm for a wealthy landowner. Those who fought in the Mexican Revolution were typically peasants, and the people that worked and lived in the city typically did not. Even though my family did not participate directly in the Revolution, the outcome of it affected all Mexicans. Even though not all of the ideals were met, there remains a collective pride, honor and respect for the lives that were lost during the long battle in hope for a better Mexico. Key ideals that were met include land reform, free education and control of our natural resources. Since I was not present in the Revolution and my ancestors did not engage in the fighting, I thought that one way to identify with the Centennial of the Mexican Revolution would be to dress up my family as revolutionaries. The imagery from the Revolution is striking, and it has a rich historical legacy that I was able to explore. In this exhibition, I combined art with history as I came to the realization that the Mexican Revolution forms an essential part of my identity. As a Mexican citizen living outside of Mexico, learning about my history gives me a sense of identity. As a Mexican woman, it gives me valor in facing the battles I am faced with by remembering the passion of those that came before me that fought to change injustices. As a Mexican artist in the 21st century, I feel it is my responsibility to appreciate the art that was made during and after the Revolution, and to understand how this movement influenced art and how can I interpret and represent the Revolution in a contemporary way. The magnetic series are an example of contemporary art because they are interactive art, the figures are magnetic and movable and the viewer becomes part of the work as they participate in moving the figures and in creating their own compositions. Imagery and the Mexican Revolution Apparel The imagery that influenced my creation of this exhibit includes various sources that I found in books, the Bicentenario website and the Agustin Casasola collection. Other sources included Hemeroteca Nacional, Library of Congress, Archivo General de la Nation and Centro de Estudios de la UNAM, among others. The photographs contained images of men, women and even children that participated in the Mexican Revolution. I found a special interest in the clothing the revolutionaries wore because it was made of strong fabric made for resistance and heavy-duty work. The clothing is also symbolic of gender, with pants for men and skirts for women. It is interesting to notice that both men and women carry guns and carrilleras, so even though there were gender distinctions, there was equality in the revolutionary purpose. Men and women were both expected to actively participate in the 12 Revolution. However, the soldaderas were expected to conform to their gender role of performing such tasks as cooking food, taking care of the children, and acting as nurses and caring for the injured. Clothing also reveals class status among revolutionaries. Some clothing is made of cheaper or more common materials while other clothing is made of expensive fabrics that not everyone could afford. Although one of the ideals of the Revolution was to diminish social stratification, ranking among revolutionaries was practiced and was reflected in their clothing. The fact that there are so many photographs of revolutionaries posing for pictures reveals that their attire was symbolic of the Mexican Revolution identity and the pride the revolutionaries felt. The clothes they are wearing include hats, pants, skirts, blouses, shirts and boots. They also donned weapons, including guns and rifles. The imagery of the Mexican Revolution photographs played an essential role in the formulation of this exhibit. Female Revolutionary Attire 14 rfl*. Male Revolutionary Attire 15 CHAPTER 2 REVOLUTION ON STEEL Experimentation and Conceptualization Once I decided to use the Centennial of the Mexican Revolution as the theme for my final exhibition, I then had to decide how to present it. In December 2009,1 created a calendar for the year 2010 using images of my family collaged with the artwork of renowned 20th century Mexican painters, such as Izquierdo and Diego Rivera. I decided to expand that expression and dress my family like revolutionaries in my new series, and thus personalize the Mexican Revolution by bringing the past and the present together by incorporating family members and myself as participants of the Mexican Revolution. In the book La Revolution Imaginada, artist Alfredo Vilchis explains that his depictions •i of the Mexican Revolution were imagined, although "attached to reality." Like Vilchis, I sought to imagine and create original depictions of the Revolution, therefore creating a tension between reality and imagination. Some of the family photographs I used in this series are more recent than others. I included photos of myself and my husband, parents, brothers, sisters, uncles, nieces, nephews, grandparents, grandparents and great-grandparents, some of whom I never met but actually lived during the Revolution. By combining these photographs, I created an environment where we all interact with each other, four generations meeting together in the same plane. 3 Conrado Tostado and Daniel Goldin, La Revolution Imaginada, Alfredo Vilchis pintor del barrio, (Mexico, 2005), 8. 16 Process and Materials With industrial materials in mind, such as steel, spray paint and magnets, as well as more traditional materials such as wood, canvas and oil, creating the new series was like putting a puzzle together. The process was to create a digital collage using Photoshop to superimpose sombreros on my family's heads. Then I selected bodies and clothing of actual revolutionaries. I printed the heads and the bodies on canvas then, I cut the canvas and glued it on wood. I cut the wood pieces with a band saw and glued a magnet on the back. The result was magnetic revolutionary figures ready to be placed on a magnetic surface. Steel is one of the few materials that attract magnets, so I obtained 10 steel sheets and spray painted them, creating colorful backgrounds that represent a space where the magnetic figures explore the Revolution. The steel sheets were welded to steel frames designed by me, but welded by a professional welder. The steel frames match well with the theme of the Mexican Revolution, inasmuch as they emit a dated, rustic feel contemporaneous to the time period. In this experimentation with different materials I identify with the sentiment of another Latina artist, Marisol Escobar, who was bom in Paris to Venezuelan parents. She has a very unique style and boldly combines a variety of materials. She explains the way she discovered her style: "I first started drawing faces on wood to help me carve them. Then I noticed that the drawing looked like a carving, so I left it. Then, once I couldn't get a drawing the way I wanted it, so I put a photograph up to help me, 1 liked it there. So I thought, Why not use a photograph?" She has said further, "All of my earlier work came from the street. It was magical for me to find things." 4 4 Marisol Escobar quoted in Avis Berman, "The Cutting Images of Marisol," in Smithsonian (Feb. 1984): 60. 17 Like Marisol, I discovered the magnetic series as I was experimenting with a variety of materials and with an open mind and willingness to try different things. The imagination flowed during the process while I was exploring the materials, and it was like finding pieces to a puzzle and putting them together. I found freedom in experimenting with materials I never thought I would use in my art. Collaged family portraits with revolutionary sombreros 18 Uncle Elias as a revolutionary, digital print, Photoshop and Corel Painter 19 20 Printed heads on canvas paper, glued on wood and painted with oil Printed bodies on canvas paper, glued on wood and painted with oil 21 Detail 22 Detail 23 Detail 24 Detail 25 Detail 26 Great Grandmother Maria Enriquez, digital print, Photoshop and Corel Painter Grandfather Elias Casimiro collaged on Diego Rivera's painting of the Mexican Revolution 27 Carmen (Lucy) collaged to Agustin Casasola's iconic photograph of the Adelita (a soldadera) 28 Objects and Symbolism One of the strongest features of the magnetic series is the capacity to invent multiple compositions. This is possible by moving around the magnetic objects on the steel surface. For example, the viewer can exchange a head for a watermelon or a turtle. The viewer becomes the composer, and has the freedom to create a traditional composition or something more unexpected. The figures are not alone in the artwork, not only do they interact with other figures but also with objects. Some of these objects are furniture items, such as a chair and a refrigerator. Other objects include food, such as a pizza and candy that would commonly be eaten at a modem party. Other objects represent the passage of time like an old clock. Mexican art is merged digitally with family portraits and simulates pictures hanging from the wall. Some of the objects are symbolic of Mexican culture, such as the Mexican flag, the Jarritos soda pop and the Mexican pesos. In the magnetic series, the figures celebrate the Mexican Revolution in a modem context but while making use of historical elements, such as the revolutionary clothing and photographs of my great-grandparents, creating interplay between the past and the present. 29 Objects and symbols used to represent the celebration of the Mexican Revolution. 30 CHAPTER 3 REVOLUTION ON WOOD Influences: 20th Century Modernism in Mexico My work has always been influenced by 20th century modernism in Mexico. Artists such as Izquierdo, Rivera, Tamayo and Frida Kahlo have all had an impact on my work. The art of Tamayo and Izquierdo have especially influenced my acrylic series on wood. The theme that I selected was one that was common among Mexican artists during the 20th century, who often represented the lower class and the Mexican Revolution. During the years of the Revolution, the lower class was not only fighting for their lands and rights, but also for their identity. There was a sense of nationalism, and the artists were very involved in creating a new identity by representing the working class in their artwork. Many artists were commissioned by the Mexican government to paint Mexico's history and to specifically include the working class. Susan Vogel examines the artistic revolution that emerged during the muralist movement in Mexico: "The Muralists' Manifesto - Siqueiros, Orozco y Rivera - established a foundation for social realism that meant the representation of social struggles and that dominated the art in Mexico for the next 40 years." 5 The objective of this generation of Mexican artists was to paint a new identity where the working class would be recognized. Art also served as a new language for the people, and was rooted politically and socially to express the ideals of the Revolution. 5 Susan Vogel, Becoming Pablo O 'Higgins, (San Francisco/Salt Lake City: Prince-Nez Press, 2010), 58. 31 Texture o f the Mexican Revolution One of the most distinguished elements in the acrylic paintings is the textured surface that I created with textured paint and varying brushstrokes. These textural surfaces were inspired by the texture that is so prominent in Tamayo's and Izquierdo's paintings. I experimented with different kinds of textured paint. For example, in one painting I used smooth textured paint, while for another, I used sand textured paint. I also learned that I do not like popcom-textured paint. The application of the textured paint is done with a large spatula knife directly over the wood surface. To achieve the desired texture, I would use a wet sponge or a wet rag. It was not unlike painting walls, particularly wood panels. Once the textured paint had dried over the surface I draw my subject in this case the revolutionaries. The texture for me meant more than simply incorporating Tamayo's technique, my intent was to simulate the textures of the facades of old buildings in Mexico, like an old hacienda or an old adobe casita. When I think about Mexico, I think about texture. Texture is everywhere in the old buildings that survived the Revolution, the streets that have not been paved in years or the dirt streets that have been never paved at all. There is texture on the facade of the old house that has not been repainted since it was built. There is texture in the old bill that is still circulating and even in the old hand that is holding it. Texture reveals the passage of time, the worn look of a surface that has been exposed to the elements of nature with its organic lines and accidental cracks, similar to a fingerprint showing scars. 32 Painting the Mexican Revolution The paintings on wood represent Zapata and Villa, as well as anonymous peasant revolutionaries, including a female soldadera. The imagery was particularly influenced by the wealth of photographs of the Revolution contained in two books written by author Enrique Krauze, Emiliano Zapata: El amor a la tierra and Francisco Villa: Entre el Angel y el Fierro. Once I finished the texture, I drew the figures with charcoal and planned the colors I wanted to use. The next step was to mix the acrylic paint and start painting the background. Using a large brush and a water bottle, I began by applying paint freely, constantly spraying water both to the surface of the painting and on the color palette to keep the paint wet. As I applied the paint over the textured surface, interesting marks and lines began appearing, creating unique abstract fields. The charcoal marks can be seen through the paint and began mixing with the paint and the water. Glazing, applying washes and seeing through the transparency of the paint were among my favorite steps of the process. While I was painting the revolutionaries, I would like to imagine that the person was being photographed in front of an old house with a rough texture, perhaps being taken at night with nothing more than candlelight. The toned-down dark browns; oranges, purples and reds also represent a dark age, the passage of time and even dried blood. The figures in these paintings become part of the texture, inasmuch as the image is imbedded in the texture and it is difficult to differentiate between the image and the texture. 33 CONCLUSION Creating the 100 anos exhibit has been an opportunity for me to reflect on the Mexican Revolution and on my identity. It also presented an opportunity to use art as a means to educate and entertain. My identity and personality are manifested through my work in the playful and humorous representations of my themes, here the Mexican Revolution. In addition to this exhibit, one of the most significant experiences during the past two years has been the opportunity to meet new people and establish new relationships with the art community. This opportunity has been enhanced by the internship that I was granted at the beginning of the year at the Utah Museum of Fine Arts (UMFA). During my internship, I have had the opportunity to assist in the Las Artes de Mexico exhibition doing outreach to the Hispanic community to promote the exhibition. Participating in said exhibition has had a great influence on the way I appreciate art and has also awakened a desire to create spaces to display Latin American Art, specifically the art of Mexico here in the U.S. It has given me a greater comprehension of the interplay between history and art. My time in the Master's of Fine Arts program has helped me clarify my artistic identity and ability. Still, I feel that my journey as an artist is just beginning and I am very excited for the opportunities that lie ahead. 34 100 aiios Revolution Mexicana 1910-2010 100 years Mexican Revolution 1910-2010 EXHIBITION STATEMENT 100 anos, Revolution Mexicana 1910 -2 0 1 0 is a multimedia exhibition based on the celebration of the Centennial of the Mexican Revolution. The exhibition is composed of a series of magnetic figures that represent the artist's family dressed as Mexican revolutionaries and a series of paintings inspired by photographs of the Mexican Revolution taken by Casasola. The exhibition is also accompanied by a historical video provided by the Mexican Consulate in Salt Lake City that narrates the story o f the Mexican Revolution. 100 anos creates a space whose objective is to invite people to learn of and reflect on Mexico's Revolution by adapting it to the present and playfully personifying the Revolution. 35 IMAGES 1. REVOLUCION/, mixed media on steel, 18 Zi x 24 Vi", 2010. 36 2. REVOLUCION 2, mixed media on steel, 18 !4 x 24 Vi" , 2010. 3. REVOLUCION3, mixed media on steel, 18 Vi x 24 Vi" , 2010. 38 4. REVOLUCION 4, mixed media on steel, 18 % x 24 Vi" , 2010. 39 5. REVOLUCION 5, mixed media on steel, 18 'A x 24 V", 2010. 40 6. REVOLUCION 6, mixed media on steel, 18 Vi x 24 'A", 2010. 41 7. REVOLUCION 7, mixed media on steel, 18 y2 x 24 'A", 2010. 42 8. REVOLUCION 8, mixed media on steel, 18 'A x 24 'A", 2010. 43 9. REVOLUCION 9, mixed media on steel, 18 Vi x 24 'A'\ 2010. 44 10. REVOLUCION10, mixed media on steel, 18 '/z x 24 ‘A", 2010. 45 46 12. Revolucionario /, acrylic on wood, 36 x 48", 2010. 47 13. Emiliano Zapata, acrylic on wood, 36 x 48", 2010. 48 14. Villa con Ninos, acrylic on wood, 36 x 48", 2010. 49 15. Revolutionary II, acrylic on wood, 36 x 48", 2010. 50 16. 100 aiios Exhibition 1,2010. 17.100 aiios Exhibition 2,2010. 51 19. 100 afios Exhibition 4, 2010. 52 20. 100 anos Exhibition 5, 2010. 53 21. Montessori children playing with the Magnetic Series. 21. Montessori group playing with the Revolution figures. 54 MESTIZO EXHIBITION FOLKLORICO 23. Peinando a las Ninas, acrylic and oil on wood, 36 x 48", 2009. 55 24. Jugando con Diego, acrylic and oil on wood, 36 x 48", 2009. 56 25. La Comida, acrylic and oil on wood, 36 x 48", 2009. 57 26. De Paseo con el Jaguar, oil on wood, 36 x 48", 2009. 58 27. El Desayuno, acrylic and oil on wood, 36 x 48", 2009. 59 28. Nino con Donas, acrylic and oil on wood, 36 x 48", 2009. 60 29. Casimiro Elias, oil on wood, 8 x 10", 2009. 31. Elias y Carmen, oil on wood, 8 x 10", 2009. 61 30. Maria Patrocinio, oil on wood, 8 x 10", 2009. 62 32. Maria Enriquez, acrylic on wood, 19 x 20", 2009. 63 33. Folklorico Exhibition at Mestizo 1,2010. 34. Folklorico Exhibition at Mestizo 2,2010. 64 65 BIBLIOGRAPHY 1. Garciadiego, Javier. Introduction Historica a la Revolution Mexicana. Mexico, D.F. SEP, 2006. 2. Conrado, Tostado and Daniel Goldin. La Revolution Imaginada, Alfredo Vilchis pintor del barrio. Mexico, D.F. SEP, 2005. 3. Vogel, Susan. Becoming Pablo O 'Higgins. San Francisco/Salt Lake City: Pince-Nez Press, 2010. 4. Krauz, Enrique. Emiliano Zapata, El amor a la tierra. Mexico, D.F. 1987. 5. Krauz, Enrique. Francisco Villa, Entre el Angely el Fierro. Mexico, D.F. 1987. 6. Marisol Escobar, "The Cutting Images of Marisol," Modem Art and Ideas, MOMA 1984. 66