#Mexico D.F.

[mexicoantiguo]

Imagen de vendedores de juguetes en un mercado de México D.F.

Ca. 1900

[callmeanxietygirl]

El interior del Cine Opera

[beachboysnatural]

I’ve spent so much time today poring over tiny print in digitized old magazines that my head is starting to hurt really badly but I don’t want to stop because it’s so fun

[abwwia]

Frida Kahlo, My Birth, 1932, oil on metal, 12 × 14". © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York.

[benkaden]

"Wait and see!"

Ansichtskarte / Vintage Postcard / Tarjeta Postal

PLAZA DE LAS TRES CULTURES MEXICO D.F.

Editorial Mexico S.A.

[mentaltimetraveller]

Frida Kahlo, My Birth, 1932

oil on metal, 12 × 14". © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York.

[fatehbaz]

[A] luscious Owari Satsuma citrus tree, whose species was originally imported from Japan, currently experiencing the ravaging effects of an aphid infestation. [...] Where did they come from? [...] And a question that nineteenth- and twentieth-century individuals may have added is, who is to blame? Jeannie N. Shinozuka’s monograph, Biotic Borders: Transpacific Plant and Insect Migration and the Rise of Anti-Asian Racism in America, 1890-1950 [...] [examines] such human and nonhuman interconnections [...] [and] meditates on such questions in the historical setting of the American empire, including its transpacific borderland.

Toward the end of the nineteenth and through the twentieth century, the already present anti-Asian racism in the United States was infused with a conservationist attitude of sustainable yield and efficient use of the vast but vanishing natural resources of North America.

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Unsurprisingly, these racial anxieties appeared just as the American empire expanded well beyond the continent’s borders. The economic threat of chestnut blight or citrus scale played into a native invasive binary that conveniently placed blame for the species’ decline, along with pest and disease introductions, on poor and immigrant groups, while excluding and erasing a longer colonial history of importations of destructive plants and animals by colonial and antebellum planters. These fears were founded not just in the economics of decline, based on a fear of the threat posed to cash crops often grown on increasingly large-scale farms, but also in jealousy surrounding agricultural innovations [...] of certain immigrant farmers [...] in a society plagued with racial anxieties of a so-called yellow peril. Paradoxically, wealthy American citizens interested in beautifying landscapes often held an orientalist fascination with a fetishized and consumable version of a Japanese countryside in the form of tea gardens. [...]

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The work also discusses the role of newly ordained technocratic officials in giving supposed scientific validity to attitudes toward plant, animal, and human invaders from the Orient.

Plant biologists such as [D.F.] and entomologists [...] were on the forefront of crusades to prevent economically damaging insects and plant diseases from entering the borders of the United States and “degrading” the native stock. Many of these individuals, like [D.F.], were closely associated with some of the leading eugenicist organizations, for example, the American Breeder’s Association, within the United States. Their efforts at plant quarantine culminated in Plant Quarantine Number 37, or PQN 37, a law intended to prevent diseases and infection from foreign animal and plant bodies. This law set a precedent for similar policies regulating humans perceived as alien, including the Immigrant Act of 1924, which limited immigrants from southern and eastern Europe, while completely excluding individuals from Asia. Similarly, officials, [...] [entomologists] included among them, seized and destroyed the property of Japanese immigrants [...].

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Shinozuka’s work is [...] a contribution to environmental history and Asian studies, [and] it is also a fresh conversation on borderlands and the role that [...] migrant groups, played in such porous places as the US Mexico border and Hawaii, the Pacific gateway to the US empire. Both domains offered opportunities to immigrants and scientists alike [...]. [I]mmigrant labor provided muscle power to corporate-owned American sugar plantations in Hawaii while also experiencing accusations of importing such damaging insects as the termite or Oriental beetle. What Shinozuka makes clear is that while these insects may have originated in southeast Asia, their spread was enabled by the context of American colonialism and empire. The trifold factors of urbanization, industrialization, and monocrop agriculture, all promoted in the interest of American business and marketed as a modernization effort in supposedly backward places like Hawaii, created the perfect circumstances for insects to swarm and disease to spread.

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All text above by: Jacob Gautreaux. "Review of Shinozuka, Jeannie N., Biotic Borders: Transpacific Plant and Insect Migration and the Rise of Anti-Asian Racism in America, 1890-1950". H-Environment, H-Net Review. August 2024. At: h-net dot org slash reviews/showrev.php?id=60450. [Bold emphasis and some paragraph breaks/contractions added by me. Presented here for commentary, teaching, criticism purposes.]

[lascitasdelashoras]

Mario Algaze - Cotton Candy, San Angel, Mexico D.F., 1981

[harvardfineartslib]

Photography had always been a part of Frida Kahlo's life since she was born. Her father Guillermo Kahlo was one of the great Mexican photographers at the beginning of the twentieth century.

When Kahlo died in 1954, her husband Diego Rivera asked the poet Carlos Pellicer to turn her family home, the fabled Blue House (La Casa Azul), into a museum. Pellicer selected some paintings, drawings, photographs, books, and ceramics, maintaining the space just as Kahlo and Rivera had arranged it to live and work in. The rest of the objects, clothing, documents, drawings, and letters, as well as over 6,000 photographs collected by Kahlo over the course of her life, were put away in bathrooms that had been converted into storerooms.

This incredible trove remained hidden for more than half a century, until just over a decade ago when these storerooms and wardrobes were opened. Among these finds, Kahlo's photograph collection was a major revelation, bearing testimony to the tastes and interests of the famous couple not only through the images themselves, but also through the telling annotations inscribed upon them. (Summarized from the publisher’s notes)

Today is Frida Kahlo’s birthday. She was born inCoyoacán in Mexico City on July 6, 1907, and died in Coyoacán on July 13, 1954.

Frida Kahlo : her photos Edition and page layout by Pablo Ortiz Monasterio. 1st ed. México, D.F. : Editorial RM, 2010. HOLLIS number: 990125850460203941

[images-mcm-mexico-california]

KASPE arquitecto, Mexico D.F. 1950

[mexicoantiguo]

Imagen de La calle Cinco de Mayo, México D.F. Ca. 1850-1900

La calle 5 de mayo surgió a finales del siglo XVI, el terreno que ocuparon las casas de Moctezuma y luego de Cortés, extendidas de Madero a Tacuba y de Monte de Piedad a Isabel la Católica, se dividió en cuatro partes. A un costado de la Catedral surgieron las dos primeras cuadras de la calle, ya que en esa época eran tan angostas que se les consideraba callejones y se llamaban del Arquillo y de Mecateros, y estaban cerrados por el desaparecido convento de la Profesa en la calle de San José el Real, la que hoy es Isabel la Católica.

[sunmisbf]

today me n my coworker were talking about places from other countries we would like to visit n i said i would like to visit madrid spain so i can watch real madrid play in their staduim n my other coworker was like u can’t even go to the d.f (mexico city) for a kpop concert n ur going to go to spain for a football game? like shut upppp 😭😭

[royalavera]

de que estado de mexico eres? :D

I'm originally from Puebla I lived half my life there and the other half in D.F., I'm currently living in Guadalajara.

Puebla is ok, it's tiny, calm and quiet.

D.F. is the opposite, is an entire universe, so big, so scary, so cool, so full of everything you can imagine, it's a unique place in the entire country.

And Guadalajara, so far it's my fav city, there are so many cultural events, the young and sport culture dominate and most important it's pro LGBT, it's like a young D.F. without all the hustle.

[abwwia]

Frida Kahlo painting in bed, 1952. Photo: Granger / Bridgeman Images. Artwork: © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / DACS 2020

Art by Women - Women in Arts

Source: ‘A kind of freedom’: 10 artists who found inspiration in isolation | Many of today’s highest-selling artists produced their best works in solitude, away from the clamour of society www.christies.com/features/10-artists-who-thrived-in-isolation-10424-3.aspx

#artherstory #womensart #palianshow #artbywomen #fridakahlo #artherstory #disabilityawarness

[lilmisterp]

“500 años hemos sufrido la opresión de nuestra raza. Pero aquí, entre nosotros, vamos a parar ese desmadre. Porque esta tierra es de nosotros... sangre x sangre, blood in, blood out”. 🔪🩸 En 2014 hice una playera con ese arte, quien la tiene? Quien dice yo a una nueva? 🙋🏽‍♂️ #lilmisterp #wheatpaste #sangreporsangre #bloodinbloodout #montana #magic #miklo #montana #laonda #mexico #iztapalapa #mexicocity #streetart (at Iztapalapa,D.F) https://www.instagram.com/p/CplTyb5O-Xt/?igshid=NGJjMDIxMWI=

[arturourista]

Norma has beauty, grace, and elegance. In 1975, when I was fourteen, she left for Mexico. She lived in Mexico, D.F., for ten years, learning how to cook, working as an English teacher, and raising her three kids. I visited her in the last year of her stay, and together we saw the ruins of Teotihuacan, Polyforum of Siqueros, and many other cultural institutions. Within three years of her return to Califas, she obtained a B.A. Childhood Psychology, a house, and a job as a Teacher's Assistance for LAUSD. She is currently a teacher for toddlers at USC Child Development Center.  As she walks in an outfit that I made, you get to see her beauty, grace, elegance, independence, strong, caring, and nurturing personality. Still, the experience is in her radiant smile, which has always given me the warmth of caring for children, and her five grandkids our next generation