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This mask was purchased in Guatemala in mid 1940's by Dr RC Arnold, my father in law. This mask hung in their home for many years and my wife and her sibs would play with it when they were kids.
The pictures in this series show the carver and the mask; RC, his wife Caroline and the carver and finally RC and Caroline in one of the central plazas of Guatemala City. RC was there to speak on how he had discovered that penicillin would cure syphilis (he headed the syphilis research lab of the Staten Island Public Health Hospital - although his boss got much of the credit for his work.... He did serve for many years, later in his career, as the Assistant Surgeon General of the USA). They were there to discuss whether penicillin would also cure yaws. It did. It was my great benefit to have a father in law that was not only a friend but a world class researcher.
This mask was one of the things we inherited.....and several years later while going through some of his old papers and things, I came across three photos rolled up and yellowed with age.......the three photos I've posted here. What a treat to find and get to travel back to that time and see them. Having done my PhD research in the transvolcanic mountains of Mexico to near the Guatemala border....I have visited many towns and experienced the market scene in these pictures and have purchased similar masks from cavers in small towns, but for most of these, I have no picture! It was a different world in the 1940s and the 1970s when I worked in many of these areas.
The Bubbler in collaboration with the Neighborhood Intervention Program (NIP) and Prof. Faisal Abdu ́Allah present an art exhibition by Madison youth. "Mask Off!" brings together UW-Madison staff, The Bubbler, and teenagers of greater Madison to celebrate identity, alter egos, and human complexity. Based on 15 weeks of workshops with diverse artists, the project emphasizes the multi-vocality and diversity of the youth who are often at the forefront of the nation’s friction. The art, made by the teens, tells stories about the multiple facets of self-imagination versus determination by society. The alter egos that the teens developed reflect upon their adaptation to challenges encountered in their every day lives.
Teens attended a workshop that took on a fascinating Egyptian theme with Cobra shapes, pyramid masks, and other Egyptian designs.
Mask is taken from Playing with watercolors by Abbey Hambright (2016), used under a CC BY-NC-SA 2.0 license.
Wooden face masks with traditional Bavarian clothes from their parents.
Carnival is celebrated to banish the winter. In Farchant in Bavaria traditional wooden masks (Maskera) are worn.
Fasching soll den Winter austreiben. In Farchant werden traditionell Holzmasken (Maskera) getragen.
The mold for this mask was made by me several years ago, but I didn't take any pictures of it then. Now someone needed another one.
During lunch hour in Central, workers come out with face masks on.
As Hong Kong Coronavirus/COVID-19 surpasses fifty cases in the city so most people don a face mask to protect themselves from the virus. Although there is some debate over the effectiveness of the masks to protect against infection and a citywide shortage of masks still the face covering has become started attire for most people in the city.
17/02/2020, Hong Kong, CHINA.
Museum of masks - South Korea - Musee des Masques - Sud Corée
Hahoe - Mask museum
www.tal.or.kr/coding/english/sub08.asp
Delilah's entire outfit, including the dress, headdress, jewlery and shoes are made of MASKING TAPE and nothing else.
Part of a challenge, though my doll doesn't qualify for entry into the actual contest.
NOT an easy task!
A traditional fastnacht (carnival) mask at the Rietberg museum, Zürich, Switzerland.
Leica M-A, Portra 400, Summilux-M 1:1.4/28 Asph.
Scanned with an SL2-S and a Apo-Macro-Elmarit-R 1:2.8/100 + 1:1 ELPRO lens.
The first layer on my paper mache masks is in the form of wet newsprint (the artist sketching type). I use this to prevent the glue and paper from sticking to the clay. No glue is used in the layer until the mask is fully covered. Then I carefully apply a light layer of diluted glue to hold this layer in place.
Read more on my blog:
Máscara I, 1924
Germán Cueto
In 1924, sculptor Germán Cueto hung a series of papier-mâché and terracotta on the walls of the Café de Nadie as part of the first Estridentista exhibition. While these vividly-painted masks were made using plaster casts of his subjects, he was also experimenting with other methods: in the works displayed here, paper was painted, folded and collaged to form fantastical, fragmented heads. Some of Cueto's masks were later worn at an Estridentista celebration inspired by traditional Mexican carnival, fusing folk culture with vanguard performance.
[Barbican Centre]
Café de Nadie and the Carpa Amaro - Mexico, 1921The Café de Nadie was adopted as a meeting places for artists, writers and musicians of the avant- garde Estridentismo group to explore new literary and visual languages which reflected the experience of contemporary urban life freed from the constraints of the past.Consider the historical context of these spaces, emerging as they did after the 10 years of suffering which was the civil war and Mexican Revolution. It was a time to look forwards and outwards and to renew and re-make identity and culture. The Café de Nadie was filled with Cubist and Italian Futurist influences and art featuring modern technologies such as planes and cars. Poet and founder, Manuel Maples Arce and artists Germán Cueto and Ramón Alva de la Canal were key figures involved. The Carpa Amaro was a huge tent which held shows that were designed as interdisciplinary, all-encompassing, inclusive experiences which brought free art to the people – very much part of the Socialist agenda post revolution.
[Barbican Centre]
From Into the Night: Cabarets & Clubs in Modern Art
(October 2019 to January 2020)
Spanning the 1880s to the 1960s, Into the Night celebrates the creative spaces where artists congregated to push the boundaries of artistic expression. The exhibition offers insight into the heady atmosphere of Berlin clubs in Weimar Germany; the energy of Harlem’s jazz scene; the vibrant context of the Mbari clubs in 1960s Nigeria; and many more.
Taken in the Barbican