#David Rockefeller Center for Latin American Studies (Harvard University )

[minnesotafollower]

Cuban Expert: Cuban Human Rights Getting Worse

Julio Antonio Fernandez Estrada, a Cuban legal expert, says that the status of Cuban human rights is getting worse. “”The already known crisis in the realization of civil and political rights, which is a consequence of the type of State and the type of political system that has existed in Cuba for more than 60 years, has been joined by a gradual deterioration of economic, social and cultural…

[evoldir]

Fwd: Postdoc: UFSaoPaulo.GenomicsOfRareBrazilianBirds

Begin forwarded message: > From: evoldir@evol.biology.mcmaster.ca > Subject: Postdoc: UFSaoPaulo.GenomicsOfRareBrazilianBirds > Date: 26 October 2024 at 08:18:05 BST > To: rdmpage@gmail.com > > > Brazil-Based Post-Doctoral Research in genomics and historical > demography of Brazilian Bird diversity > > Period of Research Project and Stipend: January 2025 – December 2026 > > We are seeking a 2-year postdoctoral fellow to undertake a study of > genomics and historical demography of extinct and near extinct species > in the Neotropics. Complete genomes, even with few specimens, can > inform us about recent changes in population size changes. Those data > associated to molecular date estimates can help us relate natural > declines or those resulting with anthropic changes The project, which > is supported by a grant from the Lemann Brazil Research Fund at > Harvard University, is entitled “Using museum specimens and genomics > to reconstruct the path to endangerment of Brazil's rarest birds”. The > main goal is to generate complete genomes from endangered and extinct > species from Brazilian museum collections and to test for the temporal > coincidence of population declines and the peopling of the Americas, > especially in the Neotropics. > > The postdoctoral fellow will be based at the Federal University of São > Paulo, Brazil and will make occasional visits to Harvard University. > At the Federal University of São Paulo the fellow will be in the > Instituto de Ciências Ambientais, Químicas e Farmacêuticas (campus > Diadema).  At Harvard the fellow will be in the Department of > Organismic and Evolutionary Biology (OEB) and the Museum of > Comparative Zoology (MCZ).  Funds for travel between the US and Brazil > are included in the fellowship. Our hope is that the postdoctoral > fellow will facilitate collaboration between the Harvard team (Drs. > Scott Edwards) and the UNIFESP team (Dr. Fabio Raposo do Amaral). > > By the specifications of the award, the postdoctoral fellow will be > based in Brazil, and ideally be a Brazilian citizen.  Successful > applicants should have a PhD and should have a strong background in > genomics, and preferably with historical demography, not necessarily > with birds. > > The successful applicant will receive a research stipend that is > competitive within Brazil and will be awarded by the Brazil Office of > the David Rockefeller Center for Latin American Studies at Harvard > University (Associação David Rockefeller Center da Universidade de > Harvard).  Review of applications will begin December 1, 2024. Please > send a CV with a list of three individuals who may be asked to supply > references; a cover letter outlining your interests and suitability > for the position; and three publications or manuscripts in a merged > pdf file to Fabio Raposo do Amaral at fabio.raposo@unifesp.br and cc > to Scott Edwards at sedwards@fas.harvard.edu. > > Contacts: Fabio Raposo do Amaral, Federal University of São Paulo, > Brazil, fabio.raposo@unifesp.br, and Scott Edwards, Department of > Organismic and Evolutionary Biology and Museum of Comparative Zoology, > Harvard University. sedwards@fas.harvard.edu > > > "Fabio R. Amaral"

[gazeta24br]

Comitiva de CEOs de negócios de favela se preparam para palestrar em Harvard e demonstrar a potência das periferias em Boston A convite da Associação David Rockefeller Center for Latin American Studies, Gilson Rodrígues, presidente do G10 Favelas (Bloco de Líderes Empreendedores e Impacto Social das Favelas) e sua comitiva estão de malas prontas para desembarcar em Boston (EUA), para uma imersão na Harvard University, uma das mais conceituadas universidades do mundo, com extensa agenda. Além de Gilson, Giva Pereira – CEO e Fundador do Favela Brasil Xpress; Suéli Feio – Cofundadora do Instituto Costurando Sonhos e Rosilane Queiroz Soares – Coordenadora Financeira do G10 Favelas, foram convidados especialmente para palestrar para os alunos de Harvard. Esta ocasião é uma excelente oportunidade para que a comunidade brasileira e estrangeiros em Harvard conheçam melhor e estudem os cases de modelos de negócios sociais desenvolvidos em Paraisópolis, principalmente durante a pandemia e que se estendem até os dias atuais e exportados para todo Brasil, que mostram a capacidade que as favelas têm de ocuparem lugares de destaque na ciência e na tecnologia. O compartilhamento das vivências e experiências das lideranças com os alunos também abre espaço para novas implementações e permite o rompimento de preconceitos. O evento principal, a ser realizado no dia 03 de outubro, no Tsai Auditorium, terá como tema central “Empreendedorismo e Inovação Social nas Favelas Brasileiras: O Trabalho do G10 Favelas”. Nele o público poderá conhecer e interagir com as principais iniciativas do G10 Favelas, como: Presidentes de Rua, Agrofavela Refazenda, Favela Brasil Xpress, Costurando Sonhos, G10 Bank e Bolsa de Valores das Favelas. No dia 04, Gilson Rodrigues e os líderes e empreendedores do G10 Favelas, participarão de evento na Faculdade de Saúde Pública de Harvard, sob mediação da chefe do Departamento de Saúde Global e População, Márcia Castro. Em discussão aberta com alunos e professores, abordarão a inovação no acesso à saúde nas favelas brasileiras e as lutas históricas por recursos em prol da saúde pública nas periferias e as estratégias emergenciais do bloco, que transformam esse cenário em diversas comunidades brasileiras, principalmente durante a pandemia da Covid-19. Na Harvard Business School, o encontro exclusivo para alunos e professores brasileiros terá foco na escola de negócios. A comitiva mostrará os projetos que revolucionam a economia dentro das favelas como G10 Bank, Favela Brasil Xpress e a Bolsa de Valores da Favela. São ações que geram renda, circulando maior capital dentro das comunidades e formando empreendedores nestas regiões. Para encerrar a semana em Boston, no dia 05 de outubro, o grupo se encontra com alunos e professores da universidade para falar sobre arte e cultura local. Como a +Favela TV, a gravadora BOONDE Brasil e todo trabalho desenvolvido pelo G10 Favelas com artistas, músicos, produtores, poetas e influenciadores locais, são algumas das iniciativas citadas em “Conversas Urbanas: O Papel da Arte, Cultura e Auto-Representação na Transformação das Favelas Brasileiras”, com o Prof. Bruno Carvalho, titular do departamento de Romance Language and Literatures de Harvard. ASSESSORIA DE IMPRENSA - G10 FAVELAS Lu Barbosa Assessoria & Eventos (11) 97133.5738 / (11) 99716.2178 imprensa@lubarbosaassessoria.com.br pamela@lubarbosaassessoria.com.br Instagram: @lubarbosaassessoria www.lubarbosaassessoria.com.br

[harvard-art-museums-photography]

Valle de Picadura, Ernesto Fernández, 1973, printed 2001, Harvard Art Museums: Photographs

Harvard Art Museums/Fogg Museum, Transfer from the David Rockefeller Center for Latin American Studies, Harvard University, Gift of the artist Size: 36.4 x 55.6 cm (14 5/16 x 21 7/8 in.)

https://www.harvardartmuseums.org/collections/object/340176

[impressivepress]

Live like a Rockefeller — The Rivals by Diego Rivera

At first glance, Abby Aldrich Rockefeller and the Mexican artist Diego Rivera couldn’t have been more different. She was the daughter of a prominent Republican senator and had married into one of America’s most famous capitalist families; he was a devoted member of Mexico’s Communist party, who had visited Moscow before his first U.S. mural commission in San Francisco.

Abby, however, was a huge admirer of Rivera’s art. He’d developed a reputation as one of his generation’s leading modern artists, and she knew all about his triumphs as a muralist in his homeland (in buildings such as the Ministry of Education in Mexico City), not to mention his mural for the Pacific Stock Exchange Tower in San Francisco. She purchased a number of Rivera’s oil paintings, sketches and watercolours. Her first purchase in 1929 was May Day Parade, a Rivera sketchbook (now in the collection at MoMA), which he had completed on a trip to Moscow.

In 1931, in her capacity as co-founder and trustee of the Museum of Modern Art (MoMA), Abby invited Rivera for a solo exhibition at the institution, making him only the second artist, after Matisse, to receive that honour. It is likely that Mexico had been on her mind for decades, ever since her first trip to the country in 1903. Rivera embodied everything that Abby and Alfred Barr, MoMA’s first Director, were looking for in terms of the museum’s programming: he was both a modernist genius with a towering body of work and as Mexico’s leading muralist, he was the foremost proponent of a genuine art movement from the Americas to the world.

On arrival in New York, Rivera paid a visit to the Rockefellers’ Manhattan home with his wife, the artist Frida Kahlo. ‘He was a very imposing and charismatic figure: tall and weighing three hundred pounds,’ Abby’s son, David Rockefeller, recalled in later life.

Rivera brought with him a new canvas, titled The Rivals, which Abby had commissioned and which he had painted in a makeshift studio aboard the steamship, the SS Morro Castle, en route from Mexico. The painting depicts a traditional festival from the southern Mexican state of Oaxaca known as Las Velas, a colourful celebration in observance of local patron saints and of the natural bounties of spring.

‘It’s undoubtedly one of Rivera’s masterpieces,’ says Virgilio Garza, Head of Latin American Paintings at Christie’s. ‘Compared with his murals — which are epic in scale and content, with sweeping vistas and narratives that are often ideologically or historically driven — this easel painting is equally monumental in presence, yet devoid of Rivera’s politics. It’s a much more intimate scene focused on regional traditions, and the brushwork is deliberately looser.’

Others have praised the rich combination of bright colours, reminiscent of Matisse (whom Rivera knew from the decade he’d spent in Paris, between 1911 and 1921) but also, more pertinently, reflecting the vivid hues evident across Mexico: from its flora to its architecture. ‘And then there’s his modern conception of space through the use of multiple planes of colour that recall the formal effects of synthetic Cubism,’ says Garza. ‘Forms and figures are synthesised and reduced to their essential elements. The viewer’s gaze recedes in stages, from the men in the foreground, to the brightly dressed women under the hanging papel picado. Rivera’s brilliant composition of intersecting planes creates a cinematic narrative.’

The Rivals  was as popular with Abby as Rivera’s sell-out MoMA retrospective proved to be with New York’s public. In 1932, she approached the artist about another project: completing a mural for the lobby of the RCA Building, the centrepiece of the Rockefeller Center, her husband, John D. Rockefeller, Jr.’s new complex in Midtown Manhattan.

Rivera’s idea was a fresco on the twin themes of human cooperation and scientific development, and he sent Abby a planned sketch of it along with a letter saying, ‘I assure you that… I shall try to do for the Rockefeller Center — and especially for you, Madame — the best of all the work I have done up to this time.’

In the process of painting the mural Man at the Crossroads, Rivera made several changes to his original sketch that would have fateful consequences. Chief among these was the addition of Lenin’s features into the face of a labourer. When news of this change in the mural reached  Nelson Rockefeller, David’s older brother, he asked Rivera to substitute the late Soviet leader for another figure.

The painter, despite many attempts to persuade him, refused. Equally vexing to the Rockefeller family was the depiction of John D. Rockefeller, Jr. on the left side of the mural drinking among a group of men and cavorting with women of questionable repute. The latter was a striking image given the family’s devout religious views and their abstinence from drinking and smoking, as well as the Rockefellers’ firm support of U.S. Prohibition-era laws. With no compromise reached, Rivera was dismissed, and although he was paid in full the mural was destroyed. ‘The mural was quite brilliantly executed,’ wrote David Rockefeller in Memoirs in 2002, ‘but not appropriate’.

Rivera would go on to recreate Man at the Crossroads, in modified form as Man, Controller of the Universe, on the walls of the Palacio de Bellas Artes in Mexico City. Here again, Rivera depicted John D. Rockefeller, Jr. clutching a martini amid scenes of gambling and excess, while the other side featured workers and various Communist leaders.

Despite all these events, Abby and her sons Nelson and David remained admirers until the end. She would donate many of the Rivera works she owned to MoMA, although The Rivals  was one piece she held on to. As a sign of how highly she valued it, Abby gave it to David and his wife Peggy McGrath as a wedding present in 1940. They, in turn, would give the painting pride of place, for decades, in the living room of their summer residence, Ringing Point, in Maine.

David Rockefeller’s interest in Latin America and its art and culture spanned many decades. In January 1946, after completing his military service in the Second World War and before he started work at Chase Bank, he and Peggy decided to take ‘a second honeymoon’. They settled on Mexico as the destination for their six-week holiday.

‘This was our first direct exposure to Latin America, and we were very much taken with what we saw,’ David wrote years later. ‘We were especially fascinated by the remarkable pre-Columbian monuments and artefacts, as well as by the charm of much contemporary Mexican painting and folk art.’ He recounted how keen they were to see the famous Mexican frescoes of Rivera, José Clemente Orozco, and Rufino Tamayo in Mexico City and Cuernavaca. ‘We especially wanted to see Rivera’s murals, since I had met Rivera with my mother when he first came to New York in 1931,’ he recalled. ‘I had always found him to be a very sympathetic person, and I liked his painting.’

The couple had travelled to Mexico armed with letters of introduction from Nelson Rockefeller, who had been appointed Coordinator of Inter-American Affairs by President Roosevelt and had subsequently visited virtually all the Latin American nations. One letter was addressed to Roberto Montenegro, an artist friend of Nelson’s, who introduced David and Peggy to other contemporary Mexican artists.

At the beginning of his long career with Chase, one of David’s first assignments was in the bank’s Latin American division. In 1965 he assumed the chairmanship of both the Council of the Americas and its new cultural adjunct, the Center for Inter-American Relations (CIAR). The latter was responsible for introducing Americans to the cultures and artists of Latin America, including staging the first one-man show in New York for Fernando Botero.

In 1991, he endowed the David Rockefeller Center for Latin American Studies at Harvard, which continues to explore Latin American politics, society, and culture, and after his retirement from the bank David was made chairman of The Americas Society, which afforded him, he said, ‘many new opportunities to visit the nations of Latin America and the Caribbean, and to appreciate their diverse art and culture.’

~ ROCKEFELLER COLLECTION | AUCTION PREVIEW · 9 May 2018.

[harvard-art-museums-sculpture]

Hop Hop!, Carmelo Arden Quin, c. 1950, HAM: Sculpture

Harvard Art Museums/Fogg Museum, Transfer from the David Rockefeller Center for Latin American Studies, Harvard University, Estrellita Bograd Brodsky Fund for Latin American Art and Culture and Gustavo E. Brillembourg Memorial Fund Size: 5.1 x 14 x 11.4 cm (2 x 5 1/2 x 4 1/2 in.) Medium: Painted cardboard and wood

https://www.harvardartmuseums.org/collections/object/340155

[j-dominguez]

Harvard University Press Presents The Cuban Economy in a New Era

A doctoral graduate of the political science program at Harvard University, Dr. Jorge I. Dominguez spent nearly 50 years at his alma mater as a professor and campus leader. Since retiring in 2018, Dr. Jorge I. Dominguez has focused his efforts on writing and publishing.

He has also served as a co-editor of the book The Cuban Economy in a New Era: An Agenda for Change toward Durable Development. The Cuban Economy in a New Era was authored by Omar Everleny Pérez Villanueva and Lorena Barberia as part of the David Rockefeller Center for Latin American Studies Series on Latin American Studies. It was distributed by Harvard University Press.

The text highlights a number of important topics impacting the economy in modern Cuba, including the start of Raúl Castro’s presidency in 2006 and the economic collapse of Venezuela, an important trade partner for Cuba. The book also looks back on a long legacy of deteriorating infrastructure. Agriculture, an industry that perfectly represents the stagnant nature of Cuba’s economy, is another key focus of the book. The nation has been hit especially hard by the fall of the once-thriving sugar industry.

The Cuban Economy in a New Era is the product of more than 10 years of work, which included aid from a number of Harvard scholars and various workshops held in both Cambridge, Massachusetts, and Havana, Cuba.

[artatak]

Online Workshop “Brazilian Art from 1960s to 1980s: An Aesthetics of the Margins”, with Claudia Calirman

10 June 18:00 h (GMT +02:00, Berlin time) via Zoom This workshop explores the period from the late 1960s through the 1980s, in which prominent Brazilian artists claimed that their work existed at the margins of society, both apart and alienated from the conservative social order, taking up the term “marginália” or marginality. To position oneself as a marginal was an active strategy, rather than a passive position. These artists proposed an alternative strategy to hegemonic artistic modes of production. They were influenced by the “Tropicália” movement, which merged the modern and the archaic, national elements and international trends. These novel practices transcended traditional mediums, eschewing the finished work of art in favour of actions, interventions and propositions. CLAUDIA CALIRMAN is Associate Professor at John Jay College of Criminal Justice, New York, in the Department of Art and Music. Her areas of study are Latin American, modern, and contemporary art. She is the author of “Brazilian Art under Dictatorship: Antonio Manuel, Artur Barrio, and Cildo Meireles” (Duke University Press, 2012), which analyses the intersection of politics and the visual arts during the most repressive years of Brazil's military regime, from 1968 until 1975. The book received the 2013 Arvey Award by the Association for Latin American Art. Calirman is a 2013 recipient of the Arts Writers Grant from Creative Capital/Warhol Foundation and was the 2008-2009 Jorge Paulo Lemann Visiting Scholar at the David Rockefeller Center for Latin American Studies at Harvard University. She is a member of the International Association of Art Critics (AICA). Calirman has curated several exhibitions in New York, including “Berna Reale: While You Laugh” (Nara Roesler Gallery, NY, 2019); “Basta! Art and Violence in Latin America” (John Jay College, 2016); and “Antonio Manuel: I Want to Act, not Represent!” (Americas Society, 2011).

Coordinated by Katerina Valdivia Bruch

The workshop is free of charge and will be held in English.

Limited number of spaces available. Registration required.

[boslgbtqia-arts]

Call for LGBTQIA Latinx Artists in the Greater Boston Area

Call for LGBTQIA Latinx Artists in the Greater Boston Area

                Submission Deadline: Friday, November 10th, 2017 at Midnight

We are excited to collaborate with the Boston LGBTQIA Artists Alliance (BLAA), the Harvard Ed Portal’s Crossings Gallery, and the David Rockefeller Center for Latin American Studies at Harvard University for BLAA’s fourteenth exhibition. This exhibition will offer a platform of self-expression for LGBTQIA Latinxartists,…

[minnesotafollower]

Analysis of Cuba’s Current Economic Crisis 

“Cuba is going through the worst crisis it has experienced in decades, with widespread shortages of food and medicines, rolling blackouts and a sky-high 400% annual inflation rate. The calls on the communist leadership to open up the economy to the market are getting loud, even from close political allies.”[1] “But deep divisions at the top of the regime regarding how much freedom to give the new…

[harvard-art-museums-photography]

Group Portrait at Party with Musicians, Baldomero Alejos, 1930, printed 2005, Harvard Art Museums: Photographs

Harvard Art Museums/Fogg Museum, Transfer from the David Rockefeller Center for Latin American Studies, Harvard University, Estrellita Bograd Brodsky Fund for Latin American Art and Culture and Gustavo E. Brillembourg Memorial Fund Size: 20 x 27.9 cm (7 7/8 x 11 in.)

https://www.harvardartmuseums.org/collections/object/340133

[harvard-art-museums-photography]

Portrait of Unknown Subjects, Baldomero Alejos, 1960, printed 2005, Harvard Art Museums: Photographs

Harvard Art Museums/Fogg Museum, Transfer from the David Rockefeller Center for Latin American Studies, Harvard University, Estrellita Bograd Brodsky Fund for Latin American Art and Culture and Gustavo E. Brillembourg Memorial Fund Size: 27 x 19.7 cm (10 5/8 x 7 3/4 in.)

https://www.harvardartmuseums.org/collections/object/340141

[harvard-art-museums-photography]

Santiago de Cuba I, Ernesto Fernández, 1964, printed 2001, Harvard Art Museums: Photographs

Harvard Art Museums/Fogg Museum, Transfer from the David Rockefeller Center for Latin American Studies, Harvard University, Gift of the artist Size: 55.6 x 36.5 cm (21 7/8 x 14 3/8 in.)

https://www.harvardartmuseums.org/collections/object/340169

[harvard-art-museums-photography]

Santiago de Cuba II, Ernesto Fernández, 1964, printed 2001, Harvard Art Museums: Photographs

Harvard Art Museums/Fogg Museum, Transfer from the David Rockefeller Center for Latin American Studies, Harvard University, Gift of the artist Size: 36.4 x 55.6 cm (14 5/16 x 21 7/8 in.)

https://www.harvardartmuseums.org/collections/object/340178

[harvard-art-museums-photography]

Series of Postmortem Portraits, Postmortem Portrait 1, Baldomero Alejos, c. 1924-76, printed 2005, Harvard Art Museums: Photographs

Harvard Art Museums/Fogg Museum, Transfer from the David Rockefeller Center for Latin American Studies, Harvard University, Estrellita Bograd Brodsky Fund for Latin American Art and Culture and Gustavo E. Brillembourg Memorial Fund Size: 11.7 x 7.9 cm (4 5/8 x 3 1/8 in.)

https://www.harvardartmuseums.org/collections/object/340151

[harvard-art-museums-photography]

Youth Brigade on the ocean, Ernesto Fernández, 1969, printed 2001, Harvard Art Museums: Photographs

Harvard Art Museums/Fogg Museum, Transfer from the David Rockefeller Center for Latin American Studies, Harvard University, Gift of the artist Size: framed: 52.1 x 71.1 cm (20 1/2 x 28 in.)

https://www.harvardartmuseums.org/collections/object/340163