This painting, which comes from a larger series of works called “Humanscapes,” were actually inspired by Casas’ experience seeing a drive-in movie screen and seeing these huge images of people and things. Eliot Elisofon Photographic Archives, African Art, Assistant Secretary for Communications and External Affairs, Gran exposición explora el arte latino moderno y contemporáneo desde el 25 de octubre en el Museo de Arte Americano del Smithsonian, Smithsonian American Art Museum Exhibition of Modern and Contemporary Latino Art Begins National Tour, Major Exhibition To Explore Modern and Contemporary Latino Art Opens at the Smithsonian American Art Museum Oct. 25, “Nuestra América: la presencia latina en el arte estadounidense” Se inaugura el 25 de octubre en el Museo de Arte Americano del Smithsonian. "Mel Casas: Artist as Cultural Adjuster" is a book that will appeal to many audiences from everyday people to academics. Melesio “Mel” Casas, the artist of the acrylic “Humanscape 62” (1970), served in the Korean War is originally from El Paso.He was like many American artists interested in abstraction. Bajo el Mismo Sol 000 17. 5 of 10 Humanscape 70 (Comic Whitewash), left, Humanscape 68 (Kitchen Spanish) and Humanscape 65 (New Horizons) are part of the show "Getting the Big Picture: Mel Casas and the Politics of … For the most part, the show was comprised of Casas’ smaller paintings. This painting is divided into three different sections: the large screen image, which recalls old-fashioned televisions. IMAGE 3: MEL CASAS, HUMANSCAPE 62, 1969. Artemio Rodríguez. All public programs are online only, on-site public tours and events are currently suspended. An influential artist, theo Available for sale from Ruiz-Healy Art, Mel Casas, Visual Scent (1999), Acrylic on canvas, 24 × 24 in Melesio "Mel" Casas (November 24, 1929 – November 30, 2014) was a Chicano artist, activist, writer and teacher. "Mel Casas: Artist as Cultural Adjuster" is a book that will appeal to many audiences from everyday people to academics. San Antonio-based artist Mel Casas died on November 30, 2014 after a two-year battle with cancer. Humanscape 62, 1970, Mel Casas, Smithsonian American Art Museum . All public programs are online only, on-site public tours and events are currently suspended. 000 16. The exhibition is drawn entirely from the Smithsonian American Art Museum's pioneering collection of Latino art. Casas’ Humanscape 62 crystallizes many of the recurring concerns featured in Chicano art of the late 1960s and 1970s. Available for sale from Ruiz-Healy Art, Mel Casas, Humanscape 95: Bird Watching Art (1978), Acrylic on canvas, 72 × 96 in You see it’s slightly bowed at each end. Mel Casas Humanscape 51 Expand Favorite. His "Brown Paper Report" Titles. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon … Available for sale from Ruiz-Healy Art, Mel Casas, Crabby (1991), Acrylic on canvas, 24 × 24 in Keep in touch by subscribing to news and updates from SAAM and Renwick Gallery. Undocumented 000 15. 2 of 9 “Humanscape 62 (Brownies of the Southwest),” a 1970 painting by Mel Casas, is part of the permanent collection at the Smithsonian American Art Museum. Mel Casas. Smithsonian American Art Museum and Renwick Gallery, Melesio Casas, Humanscape 62, 1970, acrylic on canvas, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2012.37, © 1970, the Casas Family. Malaquias Montoya. This exhibition is organized by Bianca Alvarez, Semmes Foundation Intern in Museum Studies, 2017-2018, for the McNay Art Museum. As a public health precaution due to COVID-19, all Smithsonian museums are closed temporarily. In the early 1970s, Chicano activists successfully lobbied the Frito-Lay Company to remove its cartoon mascot for Frito-Lay corn chips, the Frito Bandito, from public circulation. GETTING the BIG PICTURE: Political Themes in the Art of MEL CASAS, 1968-1977. By Mel Casas, 1969. He used visual statements, his sense of humor and love of puns to "address cultural stereotypes. With the history of art as its foundation, Kelker took several steps to correlate Casas’ body of works to America’s social history, popular culture, psychology, gender studies, and issues of social justice. In Casas’ hands Pop Art became a vehicle for cultural, social and political commentary from a Chicano point-of-view. Humanscape 62 . IMAGE 2: MEL CASAS, HUMANSCAPE 63, 1969. With the history of art as its foundation, Kelker took several steps to correlate Casas’ body of works to America’s social history, popular culture, psychology, gender studies, and issues of social justice. Courtesy San Antonio College Show More Show Less 3 of 10 "Humanscape 62 (Brownies of the Southwest)," a 1970 painting by Mel Casas, will become … The trio of exhibits trace almost the entire progression of Mel Casas' 150 Humanscape paintings from 1965 to 1989. Painted in 1970, this artwork is part of Casas’ “Humanscape” series, IMAGE 3: MEL CASAS, HUMANSCAPE 62, 1969. Getting the Big Picture: Mel Casas and the Politics of the 1960s and 1970s His work has been collected by the San Antonio Museum of Art, Smithsonian American Art Museum, and nationally and internationally. E. CARMEN RAMOS: This is Mel Casas’ “Humanscape 62,” which is a painting that he executed in 1970. Yolanda M. López. The paintings and their images are not to be reproduced, copied, or used for any other purposes without explicit permission.. Maceo Montoya. Mel Casas: Human is presented in tandem with Pop América, 1965–1975, in which the artist is also featured; the two exhibitions mark the premiere of the artist’s work at the McNay. I recommended H. 62 (Brownies of the Southwest), and because by that time Mel had given his wife Grace the authority to make decisions concerning his work, the purchase was made. Such influences are evident in his best known work, "Humanscape 62: Brownies of the Southwest" (1970), where a plate of chocolate brownies is shown as a pejorative reference to skin color on a panoramic drive-in movie screen that serves as a backdrop to a variety of stereotypical Latinos and Native Americans. Encontre parkas, casacos de inverno, sobretudos, casacos de ganga, blusões acolchoados e mais. San Antonio-based artist Mel Casas died on November 30, 2014 after a two-year battle with cancer. Casas decided it would be his last Humanscape because he had run out of clichés to mock. IMAGE 2: MEL CASAS, HUMANSCAPE 63, 1969. Compre blusões e casacos para homem na H&M. In 2012, the Smithsonian purchased its second work by Casas, Humanscape 62 (Brownies of the Southwest). Casas, the goals and future of the Chicano Art movement was … Who's the Illegal Alien, Pilgrim? This exhibition … Casas clearly was in tune with the art movements of the 1960s, and had mastered formalism, Pop art, and conceptual art by the end of that decade. A new traveling exhibition from the Smithsonian American Art Museum, "Our America: The Latino Presence in American Art," now at the Utah Museum of Fine Arts, seeks to provide an a Humanscape 62, 1970, Mel Casas, Smithsonian American Art Museum . BROWNIES OF THE SOUTHWEST Humanscape 62 72" X 96" 1970. This figure is the centerpiece of Casas’s pop-styled painting Humanscape 62. He is best known for his series of 150 large-scale paintings called "Humanscapes" that were painted between 1965 and 1989. Photo: MEL CASAS / COURTESY PHOTO For the most part, the show was comprised of Casas’ smaller paintings. It has a great location, close to restaurants, supermarkets, mini golf, go-kart and the sea. His work has been collected by the San Antonio Museum of Art, Smithsonian American Art Museum, and nationally and internationally. What place does the term "Latino" hold in American art history? Cordova’s series focuses exclusively on the artist’s 6-foot-by-8-foot works. ... All paintings represented on this site are the original work of Mel Casas. Mel Casas’s pun-laced Humanscape 62 combines elements familiar to many Americans: brownie desserts and a young Girl Scout (a Brownie), with traditional Mexican imagery. Cordova, Ruben C. Aztlan: A Journal of Chicano Studies, v36 n2 p51-87 Fall 2011. He used visual statements, his sense of humor and love of puns to "address cultural stereotypes." Mel Casas’ Humanscape 87. The Cinematic Genesis of the Mel Casas Humanscape, 1965-1967. Casas, in conjunction with a signing of art historian Nancy Kelker’s book by the same title. 2 of 9 “Humanscape 62 (Brownies of the Southwest),” a 1970 painting by Mel Casas, is part of the permanent collection at the Smithsonian American Art Museum. Artist Mel Casas (American, 1929–2014) Culture / Nationality American. E. CARMEN RAMOS: This is Mel Casas’ “Humanscape 62,” which is a painting that he executed in 1970. We are not announcing a reopening date at this time and will provide updates on our websites and social media. E. CARMEN RAMOS: This is Mel Casas’ “Humanscape 62,” which is a painting that he executed in 1970. The 153 paintings that San Antonio-based artist Mel Casas calls Humanscapes were inspired by a glimpse of a drive-in movie screen. There is also another Casas Humanscape painting that is currently on display in San Antonio. Casas, identified by his full given name, Melesio, is represented by Humanscape 62 from 1970, also called Brownies of the Southwest after its painted … Melesio “Mel” Casas, Humanscape 62, 1970, acrylic, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment. Join Facebook to connect with Mel Casas and others you may know. Melesio "Mel" Casas (November 24, 1929 – November 30, 2014) was a Chicano artist, activist, writer and teacher. 723 South Brazos St. San Antonio, TX . Casas’ Humanscape 62 crystallizes many of the recurring concerns featured in Chicano art of the late 1960s and 1970s. The Humanscape series shows Casas at his best in painting, but also reveals his clever wit and use of satire. I never had the good fortune of meeting Mel Casas in person. This painting, which comes from a larger series of works called “Humanscapes,” were actually inspired by Casas’ experience seeing a drive-in movie screen and seeing these huge images of people and things. 000 14. For more information, go to www.tamusa-ecac.com. ¡Cesen Deportación! November 24, 1929 - November 30, 2014Melesio (Mel) Casas, born in El Paso, Texas, on November 24, 1929, passed away at his home in San Antonio on Sunday, November 30, 2014. Casas was also well known as a writer and theorist. This painting, which comes from a larger series of works called “Humanscapes,” were actually inspired by Casas’ experience seeing a drive-in movie screen and seeing these huge images of people and things. Such incongruent juxtapositions — which include a tempting plate of brownies, a junior Girl Scout, a Native American in profile, and quotes of masterworks such as an Aztec mosaic — critique the trivialization of Chicano culture by mainstream American advertising and allude to the rich cultures that stereotypes obscure. As one in a series of his "Humanscape… Welcome to Casa Mel – Our ground floor apartment between Playa Flamenca and Punta Prima! His work has been collected by the San Antonio Museum of Art, Smithsonian American Art Museum, and nationally and internationally. Melesio “Mel” Casas, Humanscape 62, 1970, acrylic, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment. Some might wonder: what makes this painting so iconic? This site uses cookies to improve your experience and to help show ads that are more relevant to your interests. I recommended H. 62 (Brownies of the Southwest), and because by that time Mel had given his wife Grace the authority to make decisions concerning his work, the purchase was made. Melesio "Mel" Casas (November 24, 1929 – November 30, 2014) was a Chicano artist, activist, writer and teacher. Mel Casas, “Humanscape 68 (Kitchen Spanish)” (1973), 72″ x 96″, acrylic/canvas. Ester Hern ndez. Movies. (182.9 × 243.8 cm) Credit Line Bequest of Robert H. Wilson, Jr. E. CARMEN RAMOS: This is Mel Casas’ “Humanscape 62,” which is a painting that he executed in 1970. Melesio "Mel" Casas was a Chicano artist, activist, writer and teacher. Photo: MEL CASAS / … The trio of exhibits trace almost the entire progression of Mel Casas' 150 Humanscape paintings from 1965 to 1989. This exhibition is organized by Bianca Alvarez, Semmes Foundation Intern in Museum Studies, 2017-2018, for the McNay Art Museum. November 23, 2017 November 30, 2017 by ojodevenadocinema, posted in Chicano Art. Humanscape 51; Date 1969. Museum purchase through the Luisita L. and Franz H. Denghausen Endowment. It will be in the “Pop América” show at the McNay. Until very recently, Casas painted tirelessly throughout the decades. Father and Son (Desert Crossing) 000 18. Melesio “Mel” Casas, Humanscape 62, 1970, acrylic, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment. As a public health precaution due to COVID-19, all Smithsonian museums are closed temporarily. The trio of exhibits trace almost the entire progression of Mel Casas' 150 Humanscape paintings from 1965 to 1989. Inventories of American Painting and Sculpture, Art Bridges + Terra Foundation Initiative, Using the Nam June Paik Archive - Access and Hours, Highlights from the Nam June Paik Archive, Online Resources for Researching Nam June Paik, Publication Requests for the Nam June Paik Archive. “Our America: The Latino Presence in American Art:” A Radical Proposal` The first juxtaposition in the lecture by E. Carmen Ramos that introduced “Our America,” an exhibition at the Smithsonian American Art Museum, told the story she wanted to tell: the 1986 painting by Frank Romero of the police shooting of Rubén Salazar in 1970 next to “Washington Crossing the Delaware.” Casas, in conjunction with a signing of art historian Nancy Kelker’s book by the same title. One of the greatest byproducts of the nuclear arms race was the creation of a phallocratic race, spearheaded by academic disciplines such as Physics that up to this day predominantly embody a phallocratic language and ‘gaze’ within their departments. Humanscape - An Exhibition in Tribute to Mel Casas By Office of University Communications Tuesday, 05 26 2015. It will be in the “Pop América” show at the McNay. There is also another Casas Humanscape painting that is currently on display in San Antonio. Our America: The Latino Presence in American Art presents the rich and varied contributions of Latino artists in the United States since the mid-twentieth century, when the concept of a collective Latino identity began to emerge. Humanscape 62 . For example, Kelker demonstrates how Casas’ "Humanscape 16" features four identical young female moviegoers who readily abandon their personal uniqueness and sense of beauty by replicating the look and mannerisms of the bleach blonde, big sunglasses wearing bombshell on the screen. This painting, which comes from a larger series of works called “Humanscapes,” were actually inspired by Casas’ experience seeing a drive-in movie screen and seeing these huge images of people and things. This exhibition is organized by Bianca Alvarez, Semmes Foundation Intern in … Medium Acrylic on canvas. The McNay curators thought so highly of Mel Casas that they added yet another selection of only his work— Mel Casas: Human— which they placed in the downstairs exhibit space. Mel Casas, Self: The Chicano Collection. A grinning Frito Bandito, who appears to have been carved from semi-precious stone, is perched atop a skeleton and surrounded by a series of ​“brown” references drawn from American and indigenous cultures. Cordova’s series focuses exclusively on the artist’s 6-foot-by-8-foot works. Casas decided it would be his last Humanscape because he had run out of clichés to mock. The Guadalupe Cultural Arts Center . He used visual statements, his sense of humor and love of puns to "address cultural stereotypes." Here, he depicts a large plate of yummy brownies as they might appear in a television commercial. It explores how Latino artists shaped the artistic movements of their day and recalibrated key themes in American art and culture. New art exhibition coming to Centro de Artes June 11-Sept. 27. In this series, E. Carmen Ramos, curator of Latino art, discusses the exhibition Our America: The Latino Presence in American Art at the Smithsonian American Art Museum. Dimensions 72 × 96 in. 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