hen the work was near completion a reporter came to the cite to interview Rivera and took many scenes from the work as examples of a dangerously revolutionary idea, despite Rivera's impassioned explanation and led the public to believe that Rivera had duped Rockefeller and the American people.

A said that, as long as the Soviet Union was in existence, Nazi fascism could never be sure of its survival. Therefore, the Soviet Union must expect to be attacked by this reactionary enemy. If the United States wished to preserve its democratic forms, it would ally itself with Russia against fascism. Since Lenin was the pre-eminent founder of the Soviet Union and also the first and most altruistic theorist of modern communism, I used him as the center of the inevitable alliance between the Russian and the American. In doing this, I said, I was quite aware that I was going against…...

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Works Cited www.questia.com/PM.qst?a=o&d=31153840

Charlot, Jean. Mexican Art and the Academy of San Carlos, 1785-1915. Austin, TX: University of Texas Press, 1962. Questia. 30 Apr. 2007  http://www.questia.com/PM.qst?a=o&d=31153840 .

A www.questia.com/PM.qst?a=o&d=109096946

Foucault, Michel, and Paul Rabinow. "57 Space, Knowledge and Power." Companion to Contemporary Architectural Thought. Ed. Ben Farmer and Hentie Louw. London: Routledge, 1993. 342-348. Questia. 30 Apr. 2007  http://www.questia.com/PM.qst?a=o&d=109097299 .

A www.questia.com/PM.qst?a=o&d=15224586

Moreover, it was also during his final years in Europe that he developed his ideas about muralismo (mural art) as public art which would focus on the Mexican people (Brenner 280). He saw himself as a revolutionary who believed that all art was political propaganda thus he chose painting as his most important tool of expression because he thought that it was the easiest and most effective method of reaching the Mexican people -- this also accounts for the fact that the dominant theme of his murals was the social and political history of his country. His murals depict ideal occupations of Mexican peasants: dances, rituals, harvests, a fair-day, sugar-making, mining, smelting, weaving, dyeing, pottery manufacture and receiving the promised lands (Ibid 282).
imilarly to "the masses," women are depicted as faceless in his paintings. Generally speaking, they appear only as mothers with children or prostitutes. However, they are stripped…...

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Sources

Brenner, Anita. "Diego Rivera." Idols behind Altars. Biblo and Tannen, 1967. 277-287.

Lucie-Smith, Edward. "Diego Rivera." Lives of the Great 20th-Century Artists. Thames & Hudson; 2nd edition, 1999.197-203.

Stewart, Virginia. 45 Contemporary Mexican Artists: A Twentieth-Century Renaissance. Stanford University Press, 1951. 27-31.

Werner, Michael S. Encyclopedia of Mexico: History, Society & Culture Vol. 2. Fitzroy Dearborn Publishers, 1997. 1282-1284.

Kahlo was in almost constant pain, due to a childhood bout with polio and a bus accident that nearly killed her as a teenager ("Diego Rivera and Frida Kahlo," Eyeconart, 2009). Her marriage to Rivera, which ended in divorce, was also a frequent subject of her raw, unsparing works of art. This is unsurprising given Rivera's volatile personality and frequent infidelities.
Kahlo's preferred subject matter was herself: she did not desire to fashion a sweeping panorama that attempted to speak for all of the Mexican people. Kahlo aimed to speak for herself alone. But she created works of art that her viewers could connect with on a personal level. hen comparing the husband and wife's works of art, Rivera's works seem stuffed with action, have complicated designs, and are often teeming with different focal points. Kahlo's, in contrast, usually have a single focal point -- often Frida herself -- and…...

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Works Cited

"Diego Rivera and Frida Kahlo." Eyeconart. October 10, 2009.

 http://www.eyeconart.net/history/frida-y-diego.htm

Art, Picasso, Matisse, Diego ivera
Life had placed Picasso, Matisse and ivera with three different starts. Of them, Picasso is the most renowned. His name was a mouthful - Pablo or El Pablito Diego Jose Santiago Francisco de Paula Juan Nepomuceno Crispin Crispiniano los emedios Cipriano de la Santisima Trinidad uiz Blasco y Picasso Lopez. He was born in 1881 in Malage, Spain and is considered as the father of cubism along with Georges Braque. One particular incident at the age of three gave him a lot of feelings, which was an earthquake which happened in Malaga in the year 1884. (Pablo Picasso: Wikipedia, the free encyclopedia) At the time of the quake, his family ran from their house to a cave that was felt to be safer. In the cave his sister was born. Yet this chaotic situation did not make Picasso a psychotic or criminal as he was with…...

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References

Cubism, cubists: Picasso and Braque, and their great influences. Retrieved from   / Accessed on 14 May, 2005http://sachiyoasakawa.tripod.com 

Diego Rivera. Retrieved from   Accessed on 14 May, 2005http://www.harcourtschool.com/activity/art_everywhere/bios/rivera/index.html 

Diego Rivera. Retrieved from   Accessed on 14 May, 2005http://www.pbs.org/wnet/americanmasters/database/rivera_d.html 

Henri Matisse. Retrieved from Accessed on 14 May, 2005http://www.famouspainter.com/henri.htm

Indeed, they are both supporter of Communism and here we are already talking about the mature period of Communist in its fight against the Imperialists (certainly, these are the same imperialists that would have paid Rivera for painting Rockefeller Centre) and the meeting between the couple and Trotsky is defining for the late phase of their relationship.
Artistic practices and values

Ted Hughes and Sylvia Plath and Frida and Diego are extremely relevant for this category. First of all, Frida and Diego are members of the artistic community of Mexico and not only (and we are referring here to their presence in France during a time of artistic effervescence, as well as to their trip in the United States), this is the community that influences them and from where they draw their identity as artists. Additionally, it is their art that pulls them together each time the fall apart on any…...

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Bibliography

1. Cleopatra VII - Ptolemaic Dynasty. On the Internet at   retrieved on December 11, 2006http://www.pcf-p.com/a/m/rig/rig.html.Last 

Cleopatra VII - Ptolemaic Dynasty. On the Internet at

Multicultural Newsletter
hat is Multicultural Literacy?

Approaching the subject of multicultural literacy for the first time a student might think it has to do with getting minorities to become literate -- to be able to read and write in English or in their native language. That would be wrong, albeit it is a good goal in terms of bringing all students up to speed in communication skills. hat is important to remember about multicultural literacy is that by the year 2020, an estimated fifty percent of the student population in American public schools will belong "…to an economic, ethnic, racial, religious, and/or social class minority" (Stevens, et al., 2011, p. 32). Teachers and counselors must be fully knowledgeable vis-a-vis the culturally relevant issues that are present when the classroom is diverse, as it clearly is becoming today and will continue to be in the near future as well.

hat Stevens is getting at…...

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Works Cited

Authors and Artists for Young Adults. (2001). Diego Rivera. Retrieved October 16, 2012,

Encyclopedia of African-American Culture and History. (2006). W.E.B. Du Bois. Retrieved October 15, 2012, from Gale Biography in Context.

Stevens, Elizabeth Years, and Brown, Rachel. (2011). Lessons Learned from the Holocaust:

Blogging to Teach Critical Multicultural Literacy. Journal of Research on Technology in Education, 44(1), 31-51.

evolutionary history of Mexico [...] interrelationships of art and events in Mexico for the revolutionary period. It seems that revolution in a country also breeds artistic development and reform. As freedom beckons, so does the creative process and the need to document the events of the revolution. This is certainly the case in the history of the Mexican evolution and the resulting onslaught of artwork and creativity that resulted. Some of Mexico's most famous artists, such as Diego ivera, came out of the revolutionary period, and their influence on world art cannot be denied.
In the case of the Mexican muralists, the art directly reflected the events of the period; in fact, many muralists like ivera used real revolutionary figures and events as part of their subject matter. ivera painted a modern, cubistic Zapatista Guerrilla in one of his most famous paintings, and he did several murals depicting the history…...

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References

Berger, M. (Ed.). (1994). Modern art and society: An anthology of social and multicultural readings. New York: Icon Editions.

Hopkinson, A. (2004, May 3). Bread and roses: A Communist with a string of colorful lovers. New Statesman, 133, 48+.

Miller, Robert Ryal. (1986). Mexico: A history. Norman, OK: University of Oklahoma Press.

Adams, Henry. om and Jack: he Intertwined Lives of homas Hart Benton and Jackson Pollock. New York, NY: Bloomsbury Press, 2009. Print.
Jackson Pollock and homas Hart Benton both shared a love of art as well as an intense friendship that not only challenged but also changed American art. his book focuses on the portrait of such a friendship through displaying both the styles of the artists. In terms of relationship, Pollock studied under Benton as a student. In fact, Adams explains Pollock's only formal training came from Benton, thus becoming a sort of surrogate father to Pollock. Adam also covers some of the more odd facets of their lives such as Pollock's romantic love for Benton's wife. From there, Pollock branches away from Benton and achieves success as an artist. he personal drama Adams unfolds along with vivid description of the artwork allows for great insight into the lives of…...

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This book covers the life and story of artist, Thomas Hart Benton. It begins with description of his birth. Benton was born at the end of the 19th century in Missouri. The books goes on to explain Benton becoming the first artists to be featured on the cover of the famous magazine, Time as well as paying homage to him as the true original. The book explains of Benton's time in NY and even his time with Jackson Pollock.

Xroads.virginia.edu,. 'Thomas Hart Benton - Biography'. N.p., 2015. Web. 8 Mar. 2015.

This is a website featuring a quick and short biography on the artist, Thomas Hart Benton. The webpage mentions Hart gained fame in major cities such as Paris, Chicago, and New York. It states Benton, born in rural Neosho, Missouri, would go on to depict rural life subject matter such as Ku Klux Klan members, oppressed farmers, and big business, that all played negative parts in society at the time. The webpage also mentioned Benton's meeting with a fellow artist, Diego Rivera.

Also, the idea of double nature of the artist uncenters the viewer's perception of him or herself -- it raises the question if we are all not simultaneously two people, if we embrace more than one identity within ourselves -- jilted lover and artist.
Frida's use of her unique style of primitivism makes the work uniquely self-expressive. Yet there are many points of access of the work for the gazer, most notably the sense of heartbreak literally rendered. One interpretation of the work suggests that Frida is both loved and unloved -- the more conventional Frida bleeds, and tries to staunch her wound with surgical pinchers, while the Frida in peasant dress, the artist with the connection to her Mexican heritage is still loved by herself, and does not bleed. Anyone who has ever experienced a loss, or been in a difficult relationship with mixed emotions can relate to Kahlo's…...

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Works Cited

The Two Fridas. Frida Kahlo's works of art. PBS.com. March 17, 2009.  http://www.pbs.org/weta/fridakahlo/worksofart/index.html 

An interview with Amy Steckler Hayden Herrera. Understanding Frida Today. PBS.com.

March 17, 2009.  http://www.pbs.org/weta/fridakahlo/today/herrera.html

Rivera's work is divided into three panels. The right-hand mural was inspired by pre-Hispanic Mexico, and depicts the story of the Aztec god, Quetzalcoatl. It is interesting to note here that by putting the god's story into images, Rivers attempts to forge a Mexican national identity centered on its pre-Hispanic heroes. The middle panel is the largest in the Palace and depicts the horrors of the Conquest and the Mexican battle for Independence. The left-hand panel illustrates the artist's contemporary realities seen through the communist eyes of Rivera who depicts a sort of Marxist utopia. The significance of the building erected by the Spanish between 1521 and 1530 is very interesting. On the one hand, the Palace represents the conquering Spanish culture, but on the other hand, the Palacio Nacional is a very Mexican building, a mixture of Spanish and Aztec civilizations.
orks Cited

DeLange Audrey; DeLange George. "Travel and Tour…...

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Works Cited

DeLange Audrey; DeLange George. "Travel and Tour Photos and Pictures, National Palace. http://www.delange.org/PresPalace/PresPalace.htm.

National Palace." Encyclopedia Britannica. 2008. Encyclopedia Britannica Online. 07 Oct. 2008  http://www.britannica.com/EBchecked/topic/405172/National-Palace .

Mexico City's National Palace.  http://www.learnnc.org/lp/multimedia/5454 .

evolutionary history of Mexico [...] revolutionary period/era in Mexican social development and describe the atmosphere of the period. The Mexican evolution was a period of great upheaval in the society and government of Mexico. It was an attempt to equalize class and social status and bring modernization to the country. However, ultimately the evolution failed, because Mexico remained as divided as ever after the evolution -- partly because the evolutionaries themselves could not work together and agree on just what reforms they wanted and needed. Most Mexicans still see the Mexican evolution as an almost "holy" occurrence in the country. That is why they usually capitalize the word when referring to the evolution. It did bring some reforms to the country, but not nearly enough.
The Mexican evolution began in 1910 with the initial idea of overthrowing President/dictator Porfirio Diaz. The poor people of Mexico resented the upper classes and…...

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References

Macewan, A. (1991, November). Banishing the Mexican revolution. Monthly review, 43, 16+.

Miller, Robert Ryal. Mexico: A history. Norman, OK: University of Oklahoma Press, 1986.

Werner, M.S. (Ed.). (1997). Encyclopedia of Mexico: History, society & culture (Vol. 2). Chicago: Fitzroy Dearborn Publishers.

Neuroscience
Art is processed in the brain, and neuropsychological principles show how. One of the prime examples showing the way art influences the brain is with the Mona Lisa. Da Vinci's painting is notable for the peculiar and ambiguous smile on the subject's face. There is "dynamism" in the smile, artist understood this and deliberately make optical illusion of sorts (Chakravarty 69). The illusion is a product of "imaginative thinking which involves frontal cortical activation in the viewer's brain coupled with activation of the motion area (area V5/MT) of the viewer's visual cortex," (Chakravarty 69). Thus, some viewers may perceive La Gioconda as smiling, and others may not.

Evolutionary Psychology

Cave art proves that creative expression has always been a part of human history. As Dutton points out, the ancient Greeks were the first to recognize that art had a distinct psychological component. Art has functioned differently in different cultures and throughout time.…...

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Works Cited

"Behavior Genetics." Retrieved online:  http://www.personalityresearch.org/bg.html 

Chakravarty, Ambar. "Mona Lisa's Smile." Medical Hypotheses. Vol. 75, No. 1, July 2010, pp. 69-72.

Dutton, Dennis. "Aesthetics and Evolutionary Psychology." The Oxford Handbook for Aesthetics, edited by Jerrold Levinson (New York: Oxford University Press, 2003). Retrieved online: http://www.denisdutton.com/aesthetics_&_evolutionary_psychology.htm

Gallese, Vittorio. "Mirror Neurons and Art." Chapter 22. Retrieved online: http://old.unipr.it/arpa/mirror/pubs/pdffiles/Gallese/2010/bacci_melcher_22_2010.pdf

However, over the years, history book publishers have not followed suit and described the soladeras in a positive way. For instance, one of Casaola's most well-known photos is of a harried soldadera in a train station. The photograph's saturated colors make the scene deeply emotional and compelling, with a feeling of urgency and dynamic motion. The spontaneity of the picture and transparency of reality provide an historical accuracy and high degree of precision. Yet, the caption of one history book, for example, relates how many of the soldaderas were forced to ride on the rooftops of the trains, instead of inside the wagons. Many of the women died early deaths when the train sped through dangerous ravines and cliffs. This was anything but a supportive interpretation of the photograph and not why Casola took the photographs.
On the other hand, Casola's photographs, especially this one in the train station, did…...

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Bibliography

Coerver, Don M.. Suzanne B. Pasztor and Robert Buffington. Mexico: an encyclopedia of contemporary culture and history Santa Barber, CA: ABC-Clio.

Fuentes, Andres. "Battleground Women: Soldaderas and Female Soldiers in the Mexican Revolution." The Americas 51 no. 4 (1995): 525-553.

King, Benjamin. "Iconography and Stereotype: Visual Memory of the Soldaderas"   (Accessed May 3, 2010)http://www.umich.edu/~historyj/pages_folder/articles/Iconography_and_Stereotype.pdf 

Macias, Anna. Against All Odds: The Feminist Movement in Mexico to 1940 Westport CT: Greenwood Press, 1982

Detroit Institute of Arts is located on Woodward Avenue, at 5200, in Detroit Michigan. The Institute is open to the public from 9am to 4 pm, on Tuesday, Wednesday and Thursday, from 9am to 10 pm, on ridays, and from 10 am to 5 pm, on Sundays. According to the museum's website, tickets for the general admission cost 8$ / person for adults, 6$ / person for seniors, 4$ / person for youth (6-17) and 5$/person for college students. Admission is free for those under 5. ree general admission is also provided for residents of the city of Detroit, each riday, and for everyone, on the second Sunday of each month. The museum's original building, designed by the architect Philippe Cret at the beginning of the 1920s and opened to the public in 1926, has suffered transformations throughout the years, through additions and alterations, but its Italian-Renaissance is still impressive…...

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For food and beverages there are CafeDIA and Cresge Court Coffe Shop that are available for those who want to take a break, find a meeting place or rest and enjoy a cup of coffee and a bite before immersing in the world of art again.

A visit at the Detroit Institute of Arts is overall a pleasant way of spending some time in the world of art, be it in the company of ancient, classical, modern or contemporary art or in pursuit of learning more about techniques, artists and their works of art or about how to become an artist. The stuff is helpful and knowledgeable and someone will always help you find your way around.

Detroit Institute of Arts, /, ©2013 Detroit Institute of Artshttp://www.dia.org

As a result, the invited audience was essentially being asked to play the role of the person who is shocked by such a discovery -- and insofar as they knew they were being invited by Mendieta, and probably had basic knowledge of the crime that occurred, they were also being invited to imagine that the victim of such a crime might well have been Mendieta or any other female student on campus. This is interesting insofar as it relates to an observation made by Kwon about Mendieta's early work from this period: Kwon notes that "Mendieta's use of her/the body almost always approached erasure or negation: her 'body' consistently disappeared. This is striking given that most feminist artists during the 1970s vied for visibility and self-affirming expression through figurative, literal, sometimes 'in-your-face' presence. It is curious that Mendieta traced her absence instead."[footnoteRef:5] In "Rape Scene" this is paradoxically true:…...

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Works Cited

Bowers, Nancy. "Spring Break Killer: Murder of Sarah Ann Ottens, 1973." IowaUnsolvedMurders.com, March 2010. Web. Retrieved 24 April 2014 at:  http://www.iowaunsolvedmurders.com/beyond-1965-selected-unsolved-iowa-murders/spring-break-killer-murder-of-sarah-ann-ottens-1973/ 

Butler, Cornelia and Mark, Lisa Gabrielle. WACK!: Art and the Feminist Revolution. Los Angeles: Museum of Contemporary Art and MIT Press, 2007. Print.

Chau, Monica, Feldman, Hannah J.L., Kabat, Jennifer, and Kruse, Hannah. The Subject of Rape: June 23-August 29, 1993. New York: Whitney Museum of American Art, 1993. Print.

Deutsche, Rosalyn. "Breaking Ground: Barbara Kruger's Spatial Practice." In Kruger, Barbara. Thinking of You. Cambridge: MIT Press, 2000. 77-84. Print.