User:Sev2109/sandbox

Links for JG article
Insert here:

http://revistas.unam.mx/index.php/archipielago/article/viewFile/19641/18632

This thesis has further information about the different galleries in which her works were displayed in Guyaquil.

Gutierrez' obituary

Further posthumous criticism of Gutierrez

Retrospective on Gutierrez one year after her death



Judith Gutiérrez
Judith Gutiérrez Moscoso (1927–1 March 2003) was an Ecuadorian painter who lived and worked in Ecuador and Mexico. Along with other female artists, she formed part of the Guayaquil School for Contemporary Plastic Arts (Escuela de Guayaquil en las Artes Plásticas Contemporáneas) and was active in militant groups such as the Union of the Women of Guayas (Unión de Mujeres del Guayas), a precursor to Ecuadorian feminist organizations.

A great part of her life was spent living and painting in Mexico. In 1964, after her first solo exhibitions at Ecuadorian galleries such as the Casa de la Cultura "Benjamín Carrión" in Quito, Gutiérrez' second husband, the writer Miguel Donoso Pareja, was captured along with other intellectuals by Ecuador's military regime. She accompanied him to Mexico when he was expelled there, and she remained there for long periods of her career.

In 1982, Gutiérrez was invited by the Ecuadorian government to exhibit some of her paintings in the National Museum of the Central Bank of Ecuador. This was her first major showing after her return to Ecuador.

She died in Guadalajara, Jalisco, Mexico of a heart attack.

Early life and education
Gutierrez was born in 1927 in Babahoyo, Ecuador. She was raised Catholic. At an early age her father, a sailor and agriculturalist, sent her to a convent in the Andean city of Riobamba, 30 km from the base of the Chimborazo volcano. The Mexican writer Juan Hadatty Saltos argued that her religious background coupled with the colors and images of the countryside where spent her childhood, would greatly influence her painting.

Influences
She studied at the School of Fine Arts in Guayaquil, Ecuador, where her most influential professor was Caesar Andrade Faini. Her studies under Faini, which took place after the end of her first marriage, led to a series of early works exhibited in both Guayaquil and Quito along with what was described after her death as a "great friendship."

Gutiérrez worked within a school described by El Universo following her death as "modern primitivist," rejecting European forms in favor of natural, essential ones. These natural forms, along with her Christian upbringing, would intensify upon her move to Mexico and would lead to one of the major motifs in her career: the Paraísos, paintings of Eden-like gardens with groups of nude figures.

Important works
Along with the Paraíso and Nocturno series, some of Gutierrez's other major works are: Dancer's Memory of the Artist, Book for The Blind, and The Christ of Santa Elena.

Major themes
Gutiérrez worked in multiple media including painting, sculpture, graphics, decoratives and applied installation. Gutierrez was known for ingenious composition of figures, incorporating symbols, mystical scenes, as well as some Byzantine characteristics ("Bizantino Tropical" as an art critic once suggested): nature, men, women, the cosmos, are all the general components of her works.

The critic Jorge Dávila Vásquez said that her work featured "the primitivism of those furtive encounters of man with the little demons of his childhood, nurtured by the religious Christian imaginary."

Exhibitions
Gutierrez held numerous individual exhibitions and is represented in many galleries and museums in New York, Los Angeles, Chicago, Pasadena, Washington, Great Britain, Osaka, Guayaquil, Quito, Mexico City, Munich, Havana, Guadalajara, Monterrey, Panamá, and São Paulo.

Selected Individual Exhibitions

 * 1963-Escuela de Bellas Artes, Guayaquil, Ecuador
 * 1963-Casa de la Cultura, Núcleo del Guayas, Guayaquil
 * 1964-Casa de la Cultura, Núcleo de los Ríos, Babahoyo, Ecuador
 * 1964-Casa de la Cultura, Quito, Ecuador
 * 1965-Galería Pecanins, Ciudad de México
 * 1966-Galería Pecanins, Ciudad de México
 * 1966-Galería de Ruta 66, Guadalajara, Jalisco, México
 * 1967-Galería Pecanins, Ciudad de México
 * 1968-Galería Pecanins, Ciudad de México
 * 1969-La Galería, Ajijic, Jalisco, México
 * 1969-Galería Pecanins, Ciudad de México
 * 1970-Galería Lepe, Puerto Vallarta, Jalisco, México
 * 1971-Galería Lepe, Puerto Vallarta, Jalisco, México
 * 1971-Centro Deportivo Israelita, Ciudad de México
 * 1973-Galería Lepe, Puerto Vallarta, Jalisco, México
 * 1974-Galería del Bosque, Casa del Lago, Ciudad de México
 * 1975-Un Pequeño Rincón de Arte, Ciudad de México
 * 1975-Casa del Lago-UNAM, Ciudad de México
 * 1976-Polyforum Cultura Siqueiros, Ciudad de México
 * 1976-Casa del Lago, Ciudad de México
 * 1977-Galería Arvil, Ciudad de México
 * 1979-Museo de Arte Carrillo Gil, Ciudad de México
 * 1980-Galería Míro, Monterrey, México
 * 1982-Museo Antropológico y Pinacoteco del Banco Central, Guayaquil Ecuador
 * 1982-Museo Banco Central, Cuenca, Ecuador
 * 1982-Museo Camilo Egas, Quito, Ecuador
 * 1983-Galería Madeleine Hollander, Guayaquil, Ecuador
 * 1984-La Galería, Quito, Ecuador
 * 1984-Galería La Manzana Verde, Guayaquil, Ecuador
 * 1985-Galería La Manzana Verde, Guayaquil, Ecuador
 * 1986-Museo de Arte Contemporáneo, Pánama
 * 1989-Lizardi/Harp Gallery, Pasadena, California, USA
 * 1989-Museo Antropológico y Pinacoteco del Banco Central, Guayaquil, Ecuador
 * 1990-Lizardi/Harp Gallery, Pasadena, California, USA
 * 1991-Galería Expresiones, Guayaquil, Ecuador
 * 1992-Galería Arte Acá, Guadalajara, Jalisco, México
 * 1993-Galería Arte Actual Mexicano, Monterrey, México
 * 1994-Museo del Banco del Pacifico, Guayaquil, Ecuador
 * 1996-Arte de Oaxaca, México
 * 1996-Casa de la Cultura de Juchitán, Oaxaca, México
 * 1997-Galería Arte Actual Mexicano, Monterrey, México
 * 1998-La Galería, Quito, Ecuador
 * 1999-Museo Municipal de Arte Moderno, Cuenca, Ecuador
 * 2000-Galería Arte Actual Mexicano, Monterrey, México
 * 2001-Instituto Cultura Cabañas, Guadalajara, Jalisco, México
 * 2001-Museo Metropolitano de Monterrey, Monterrey, México
 * 2005-"Alchemist of Color", Museum of Raúl Anguiano, Guadalajara, Jalisco, Mexico
 * 2006-2007-Alquimista del Color, Museo Antropologico y de Arte Contemporaneo (MAAC), Guayaquil, Ecuador
 * 2007-Alquimista del Color, Museo Bahía de Caráquez, Ecuador

Selective Group Exhibitions

 * 1962-Casa de la Cultura, Núcleo de Los Ríos, Babahoyo, Ecuador
 * 1963-Casa de la Cultura, Quito, Ecuador
 * 1963-Casa de la Cultura, Núcleo del Guayas, Guayaquil, Ecuador
 * 1970-Movimiento de Editores, Ciudad de México
 * 1971-Sala de Cabildo de Tepoztlán, México
 * 1971-Galería Misrachi, Ciudad de México
 * 1972-Museo Latinamericano, New York, NY, USA
 * 1972-Centro de Arte Moderno, Tepoztlán, México
 * 1972- The Eye Corporation, Chicago, IL, USA
 * 1973-Hugh Air West, Guadalajara, Jalisco, México
 * 1974-Museo del Valle de Bravo, Ciudad de México
 * 1975-La Mujer en La Plastica, INBA
 * 1975-Polyforum Cultural Siquei-ros, Ciudad de México
 * 1976-16 Artistas de La Plastica Actual, Conservatorio Macional de Música y Banco de Comercio, Ciudad de México
 * 1976-Galería Pro Arte (Arte Presencia, Movimiento Nacional de Mujers)
 * 1977-Mujer, imagen y voz, Museo de la ciudad de México
 * 1978-Actualidad gráfica panorama artístico, Washington, D.C., USA
 * 1978-Museo Bellas Artes de Caracas, Venezuela
 * 1979-Museo de Arte Moderno, Ciudad de México
 * 1979-Congreso Mundial de Sexología, Ciudad de México
 * 1981-Bienial Internacional de Arte, São Paulo, Brasil
 * 1981-Art Expo West Convention Center, Los Angeles, CA, USA
 * 1981-Künstlerhaus Bethanien, Munich, Alemania.
 * 1982-Franklin Furnace Archive, New York, NY, USA
 * 1983-35 Mujers, Museo de Arte Carillo Gil, Ciudad de México
 * 1984-2nd Bienil de La Habana, Cuba
 * 1990-College of Creative Studies Gallery, University of California, Berkeley, CA, USA
 * 1991-III Bienal de Cuenca, Cuenca, Ecuador
 * 1992-Expo Arte Guadalajara, Ciudad de México
 * 1994-Expo Arte Guadalajara, Ciudad de México
 * 1995-Galería Alejandro Gallo, Guadalajara, México
 * 1995-Museo Wifredo Lam, La Habana, Cuba
 * 1995-Galería Óscar Román, Ciudad de México
 * 1995-Perfiles Gráficos, Near Northwest Arts Council Gallery, Chicago, IL, USA
 * 1995-La Caba, Ajijic, Jalisco, México
 * 1995-4 Artistas de Latinoamérica, Mexican Fine Arts Center Museum, Chicago, IL, USA
 * 1997-Expo Arte, Guadalajara, México
 * 1997-Museo de las Artes, Universidad de Guadalajara, México
 * 1997- Trienal de Osaka, Osaka, Japan
 * 1997-''Intercambio de grabadores de Bristol y Guadalajara, The Bristol City Museum and Art gallery, Great Britain
 * 1997-Arcángeles en la tradición latinoamericana: interpretaciones contemporaneas, Museum of Latin American Art, Long Beach, CA, USA
 * 1999-''Del desencanto à la armonía, Museo del Centenario, Monterrey, México
 * 1999-Haus Der Kunst, Guadalajara, México
 * 1999-Dia de muertos, Haus Der Kunst, Guadalajara, México
 * 2000-Galería Topor, Guadalajara, México
 * 2000-Museo El Centenario, Monterrey, México
 * 2001-Arte Objeto, La Mandrágora, Guadalajara, México
 * 2001-Arte en piedra, Instituto Cultural Cabañas, Guadalajara, México
 * 2013-Disrupted Nature, Museum of Latin American Art, Long Beach, CA, USA

Scholarly Reception
In the years since Hayles' How We Became Posthuman was published, it has been both praised and critiqued by scholars who have viewed her work through a variety of lenses; including those of cybernetic history, feminism, postmodernism, cultural and literary criticism, and conversations in the popular press about humans' changing relationships to technology.

Writing Style, Organization, and Scope
Reactions to Hayles' writing style, general organization, and scope of the book have been mixed. The book is generally praised for displaying depth and scope in its combining of scientific ideas and literary criticism. Linda Brigham of Kansas State University claims that Hayles manages to lead the text "across diverse, historically contentious terrain by means of a carefully crafted and deliberate organizational structure." Some scholars found her prose difficult to read or over-complicated. Andrew Pickering describes the book as "hard going" and lacking of "straightforward presentation." Dennis Weiss of York College of Pennsylvania accuses Hayles of "unnecessarily complicat[ing] her framework for thinking about the body", for example by using terms such as "body" and "embodiment" ambiguously. Weiss however acknowledges as convincing her use of science fiction in order to reveal how "the narrowly focused, abstract constellation of ideas" of cybernetics circulate through a broader cultural context. Craig Keating of Langara College on the contrary argues that the obscurity of some texts questions their ability to function as the conduit for scientific ideas.

Reception of Feminist Ideas
Several scholars reviewing How We Became Posthuman highlighted the strengths and shortcomings of her book vis a vis its relationship to feminism. Amelia Jones of University of Southern California describes Hayles' work as reacting to the misogynistic discourse of the field of cybernetics. As Pickering wrote, Hayles' promotion of an "embodied posthumanism" challenges cybernetics' "equation of human-ness with disembodied information" for being "another male trick to feminists tired of the devaluation of women's bodily labor." Stephanie Turner of Purdue University also described Hayles' work as an opportunity to challenge prevailing concepts of the human subject which assumed the body was white, male, and European, but suggested Hayles' dialectic method may have taken too many interpretive risks, leaving some questions open about "which interventions promise the best directions to take."

Reception of Hayles' Construction of the Posthuman Subject
Reviewers were mixed about Hayles' construction of the posthuman subject. Weiss describes Hayles' work as challenging the simplistic dichotomy of human and post-human subjects in order to "rethink the relationship between human beings and intelligent machines," however suggests that in her attempt to set her vision of the posthuman apart from the "realist, objectivist epistemology characteristic of first-wave cybernetics", she too, falls back on universalist discourse, premised this time on how cognitive science is able to reveal the "true nature of the self." Jones similarly described Hayles' work as reacting to cybernetics' disembodiment of the human subject by swinging too far towards an insistence on a "physical reality" of the body apart from discourse. Jones argued that reality is rather "determined in and through the way we view, articulate, and understand the world".

Materiality of Information
In terms of the strength of Hayles' arguments regarding the return of materiality to information, several scholars expressed doubt on the validity of the provided grounds, notably evolutionary psychology. Keating claims that while Hayles is following evolutionary psychological arguments in order to argue for the overcoming of the disembodiment of knowledge, she provides "no good reason to support this proposition." Brigham describes Hayles' attempt to connect autopoietic circularity to "an inadequacy in Maturana's attempt to account for evolutionary change" as unjustified. Weiss suggests that she makes the mistake of "adhering too closely to the realist, objectivist discourse of the sciences," the same mistake she criticizes Weiner and Maturana for committing.

Tips for writing
Some common phrases from Wikipedia "Scholarly Reception" sections
 * is described as
 * drew praise from
 * reactions were mixed

An article I was using to help me get the tone and style: https://en.wikipedia.org/wiki/The_History_of_Sexuality#Scholarly_reception

Sara

 * (SARA) Jones, Amelia. "Review. Reviewed Works: The Emptiness of the Image: Psychoanalysis and Sexual Differences by Parveen Adams; How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics by N. Katherine Hayles; The Threshold of the Visible World by Kaja Silverman." Signs. Vol. 27, No. 2 (Winter, 2002), pp. 565-569. The University of Chicago Press Stable URL: http://www.jstor.org/stable/3175794


 * NOTES: This writer was a faculty member at U California at Riverside at the time of this writing.


 * POSITIVE RECEPTION:
 * How we Became Posthuman is one of three works which "activate feminist theory in relation to different bodies"
 * Book is a reaction to cybernetics as a discourse "troubling for feminism in its combination of blindness and misogyny in relation to femininity"
 * "a welcome contribution to postmodern theory, which has too often been abstracted from intellectual history and certainly from the crucial parallel developments in the history of science."


 * CRITIQUES:
 * "Disturbingly, however, Hayles, too, reverts now and again to the concept of "reality" as if the very free-floating relativism introduced by cybernetic theory must be countered by essentialism"
 * Hayles argues there are physical realities of the body that cannot be brought into discourse, while Jones states: "While I agree that we are resolutely embodied, I would argue against positing a "physical reality" of the body that is not always already determined in and through the way we view, articulate, and understand the world...We neither have to deny the existence or specificity of the body nor have to insist on its 'physical reality' in order to articulate in a feminist way the profound implications of our 'post-humanity.'"


 * (SARA) Muller, Nathalie. “Cybersociology #7: Book Review - How We Became Posthuman.” Accessed September 21, 2015. http://www.cybersociology.com/files/7_review_howposthuman.html.
 * POSITIVE RECEPTION:
 * "Nevertheless, this doesn't diminish Hayles' fascinating account of how science and culture have privileged the abstract as the Real, and have downplayed materiality."
 * "Hayles rightly critiques the contemporary belief that the body is primarily a discursive and linguistic construction. She blames post-modern theory for concentrating on discourse rather than on embodiment, and thus highlights once again how seriation functions. This is to say, post-modern theory replicates once again the Cartesian mind/body split, wherein philosophy cannot conceptualise itself as having a body."


 * CRITIQUES:
 * Hayle's use of "striation" as a metaphor for the work she does to show the connections between abstract forms and material embodiment were critiqued for being too rooted in archeology, hearkening back to a past rather than innovating.
 * "Hayles wants to entangle abstract form and material particularity in her text, so that the reader will find it increasingly difficult to maintain the perception that matter and information are separate (23). However, such literary strategies do not always contribute to the strength and the lucidity of her argument... Though the scientific chapters and literary chapters are incorporated in the same "body" of the book, there is still a clear division between them. Structurally they do not really make up part of the same system, since the literary texts still seem somehow subordinate to the scientific ones. Their function is to illustrate, rather than instantiate. The chapter sequence re-enacts this logic: scientific chapters are followed by literary ones and not the other way round."


 * (SARA) Pickering, Andrew. "Review: How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics by N. Katherine Hayles; Silicon Second Nature: Culturing Artificial Life in a Digital World by Stefan Helmreich." Technology and Culture Vol. 41, No. 2 (Apr., 2000), pp. 392-395 http://www.jstor.org/stable/25147527?seq=1#page_scan_tab_contents


 * POSITIVE RECEPTION:
 * "Hayles' zeitgeists are continually made and unmade by situated actors, including Hayles herself. Not content to report on the spirits of the age, she wants to interfere with their becoming"
 * "Once you start thinking like a cybernetician, therefore, you are on the way to becoming "posthuman" -- less impressed than you were with the singularity of the human and more interested in similarities and crossovers among people, animals, and machines..."
 * "Posthumanity is not necessarily a bad thing. Following Donna Haraway, Hayles sees it as having a positive potential in freeing our imaginations from the hold of old dualisms and associated patterns of domination. But posthumanity can have a dark side, too. Haraway associates this with global capitalism and militarism, but Hayles' bete noire is Hans Moravec, the computer scientist who talks about downloading consciousness into a computer. This equation of human-ness with disembodied information looks like another male trick to feminists tired of the devaluation of women's bodily labor (from having babies to all the medial tasks that have traditionally made the 'life of the mind' of the male scientist possible."
 * She "seeks to emphasize the costs (intellectual, moral, and political) entailed in editing the body out)."
 * "I rather resisted these readings at first [of science fiction books], but I find that the associations Hayles makes have stuck in my mind."


 * CRITIQUES:
 * "If you like plain English and straightforward presentation...then you might find the book hard going...perhaps she has bitten off more than one can easily chew."


 * (SARA) Reid, Julian. "Review: How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics by N. Katherine Hayles." Millennium - Journal of International Studies December 1999 vol. 28 no. 3 778-780 http://mil.sagepub.com/content/28/3/778.full.pdf+html


 * NOTE: At the time this review was written, the author was a student at the University of Lancaster. Not sure if we should put as much faith into the critiques as we would onto others...


 * POSITIVE RECEPTION:
 * Suggests reading the book "as a rigorously researched history of the development of cybernetic theories in the post-War era"


 * CRITIQUES:
 * Suggests NOT reading the book if one is interested in "critical purchase upon the subject matter."
 * "The problem with Hayles' portrayal of [the fear that posthumanism will seek to overcome the problematics of corporeal embodiment which liberalism has historically purported to address], is that so many of [this scenario's] features have already been installed within contemporary operations of global liberal governance..."
 * Her appraisal "seems both dated and out of touch. There exists a long tradition of continental philosophical thought which contends that the political problematic of being human is inex