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Ekslibriset til Ester Hagstrøm. Motiv: Tre svaler.
Laga av Albert Jærn.
1917.
© Copyright:
Denne illustrasjonen er beskyttet iht. Lov om opphavsrett til åndsverk av 1961. Utover privat bruk er gjengivelse/reproduksjon av vernede illustrasjoner ikke tillatt uten etter avtale med rettighetshaver v/BONO. Kontakt BONO (Billedkunst Opphavsrett i Norge) for rettighetsklarering: www.bono.no
Henvisningen til norsk lov innebærer at utlegning av verk under Creative Commons-betingelser ikke aksepteres.
This illustration is protected according to Norwegian Law on copyright of 1961. Beyond private use, reproduction of protected illustrations are not allowed without the permission of the licensee v / BONO. Contact BONO (Norwegian Visual Artists Copyright Society) for rights clearance: www.bono.no
Interpretation (reuse) of this work under Creative Commons conditions are not accepted.
Original in Einar Øklands private collection, digital reproduction by Bergen Public Library
Ti piacerebbe studiare l’inglese all’estero ma sei stanco delle solite mete? Inghilterr
lingue, inglese, viaggi, corsi, estero www.diggita.it/v.php?id=1514000
A pretty aurora tonight. It's not a school night, so I did a road trip to the top of Ester Dome, a small mountain north of Fairbanks for the views.
The aurora was very cooperative with lots of color.
Haus Esters is one of two villas built from 1928 until 1930 in Krefeld by Ludwig Mies van der Rohe. Due to a stell structure both houses have large windows on the garden side. Nowadays the houses are part of the Kunstmuseen Krefeld.
In 1989, Ester Hernandez produced an exquisite screen print at the National Chicano Screen Print Taller that resides in the canon of ChicanX art (and the Smithsonian American Art Museum). Her piece, La Ofrenda, became an empowering icon for Mexican American womanhood and queer subjectivity. It is evident that this icon transcends generations given how women of the new millennium proudly tattoo their bodies as if their skin was Juan Diego's very manta. Like the Hernandez piece, the tattoo in this photograph underscores a subversion of the late 20th / early 21st century ChicanX generation. It extends a decolonial critique, allowing the Aztec goddess Tonantzin exist as she is before her colonial cooptation. As an iconic piece of art, its main subject, Guadalupe or Tonantzin (as I identify her here), has become an archetype of successive ChianX generations' artistic vision. The photograph pales in comparison to Hernandez's "La Ofrenda" but as I grow artistically whenever the opportunity to re-create the image through the photographic medium presents itself, I can't pass it up.
Check out Ester Hernandez's "La Ofrenda" by visiting Dartmouth University's Hood Museum of Art's page: hoodmuseum.dartmouth.edu/news/2022/10/la-ofrenda-national...