Kim Richter

The Digital Florentine Codex gives access to a singular manuscript created by Franciscan friar Bernardino de Sahagún and a group of Nahua elders, authors, and artists. Written in parallel columns of Nahuatl and Spanish texts and hand painted with nearly 2,500 images, the encyclopedic codex is widely regarded as the most reliable source of information about Mexica culture, the Aztec Empire, and the conquest of Mexico. Upon completion in 1577 at the Imperial Colegio de la Santa Cruz in Tlatelolco (today Mexico City), the manuscript was sent to Europe where it entered the Medici family’s library in Florence—thus, the Florentine Codex. This digital edition unlocks the manuscript’s content by making the texts and images searchable.

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El Códice Florentino Digital da acceso a un manuscript singular creado por el fraile franciscano Bernardino de Sahagún y un grupo de principales, autores y artistas nahuas. Escrito en columnas paralelas de textos en náhuatl y español y pintado a mano con casi 2,500 imágenes, el códice enciclopédico es considerado la fuente de información más confiable sobre la cultura mexica, el imperio azteca, y la conquista de México. Una vez completado en 1577 en el Imperial Colegio de la Santa Cruz en Tlatelolco (hoy Ciudad de México), el manuscrito fue enviado a Europa, donde ingresó a la biblioteca de la familia Medici en Florencia—por eso el Códice florentino. Esta edición digital hace accesible el contenido del manuscrito a través de la búsqueda de textos e imágenes.

This volume accompanies a major international loan exhibition featuring more than three hundred works of art, many rarely or never before seen in the United States. It traces the development of gold working and other luxury arts in the Americas from antiquity until the arrival of Europeans in the early sixteenth century. Presenting spectacular works from recent excavations in Peru, Colombia, Panama, Costa Rica, Guatemala, and Mexico, this exhibition focuses on specific places and times--crucibles of innovation--where artistic exchange, rivalry, and creativity led to the production of some of the greatest works of art known from the ancient Americas. The book and exhibition explore not only artistic practices but also the historical, cultural, social, and political conditions in which luxury arts were produced and circulated, alongside their religious meanings and ritual functions.

Golden Kingdoms creates new understandings of ancient American art through a thematic exploration of indigenous ideas of value and luxury. Central to the book is the idea of the exchange of materials and ideas across regions and across time: works of great value would often be transported over long distances, or passed down over generations, in both cases attracting new audiences and inspiring new artists. The idea of exchange is at the intellectual heart of this volume, researched and written by twenty scholars based in the United States and Latin America.

<jats:p>Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the "NAFTA era." Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation's 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City's Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata's image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.</jats:p>

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

El Gran México se refiere tanto a la región geográfica que abarca el México moderno como a sus antiguos territorios que hoy forman parte de los Estados Unidos y la diáspora cultural mexicana. Las exposiciones de cultura visual y material del Gran México han jugado un papel importante en la articulación de identidades y pertenencias que abarcan más que nociones relativamente estrechas como la de ser ciudadano de un estado-nación. Tras un texto introductorio de Jennifer Josten, cinco académicos comparten sus experiencias personales acerca de las cuestiones intelectuales, diplomáticas y logísticas que había detrás de algunas importantes exposiciones transfronterizas de los llamados “años del TLC”. Rubén Ortiz-Torres escribe desde una perspectiva singular: como artista originario de la Ciudad de México que comenzó a exhibir en los Estados Unidos a finales de la década de 1980, y como curador de exposiciones recientes en las que se ha destacado la existencia de múltiples Méxicos y múltiples Estados Unidos. Clara Bargellini reflexiona sobre una exposición transfronteriza y rupturista de las artes virreinales de las misiones del norte de Nueva España. Kim N. Richter considera cómo las artes de la antigua Mesoamérica y de las Américas figuraron dentro de la iniciativa Pacific Standard Time: LA / LA de la Fundación Getty del año 2017. Xóchitl M. Flores-Marcial ofrece una perspectiva acerca de colaboraciones exitosas entre instituciones y interlocutores indígenas transnacionales; examina específicamente dos muestras del colectivo oaxaqueño Tlacolulokos, realizadas recientemente en el sur de California. Luis Vargas-Santiago analiza cómo el arte Chicana/o/x ingresó al Palacio de Bellas Artes de la Ciudad de México en 2019 como un componente crucial de una exposición sobre las migraciones de la imagen del revolucionario mexicano Emiliano Zapata en la cultura visual. Juntos, estos textos demuestran que las exposiciones pueden servir para promover una comprensión más compleja de las interacciones culturales y políticas en el Gran México.

Grande México se refere tanto à região geográfica que abrange o México moderno e seus antigos territórios nos Estados Unidos, quanto à diáspora cultural mexicana. Exposições de cultura visual e material do Grande México há muito desempenham um papel importante na articulação de identidades e afiliações que transcendem definições limitadas de cidadania. Seguindo um texto introdutório de Jennifer Josten, cinco estudiosos oferecem sua perspectiva sobre as preocupações intelectuais, diplomáticas e logísticas por trás das mais influentes exposições transfronteiriças da “era do NAFTA”. Rubén Ortiz-Torres escreve de seu ponto de vista singular como artista originário da Cidade do México que começou a expor nos Estados Unidos no fim dos anos 1980, e como curador de exposições recentes que destacaram a existência de múltiplos Méxicos e Américas. Clara Bargellini reflete sobre uma exposição transfronteiriça transformadora focada na arte vice-real das missões do norte da Nova Espanha. Kim N. Richter considera como as artes da Mesoamérica antiga e das Américas em geral figuraram em grande escala na iniciativa Pacific Standard Time: LA/LA de 2017 da Fundação Getty. Xóchitl M. Flores-Marcial oferece sua visão sobre colaborações institucionais produtivas entre interlocutores indígenas transnacionais, examinando específicamente duas exposições recentes do coletivo oaxaquenho Tlacolulokos no sul da Califórnia. Luis Vargas-Santiago discute como a arte chicana entrou no Palácio de Belas Artes da Cidade do México em 2019 como um componente crucial de uma exposição sobre as migrações da imagem do revolucionário mexicano Emiliano Zapata na cultura visual. Juntos, esses textos demonstram como exposições podem servir para avançar compreensões mais complexas de interações culturais e políticas através do Grande México.

Nahua Voices on the Conquest of Mexico: “De cómo los españoles conquistaron a la ciudad de México” Book 12, Florentine Codex

Friday, August 13, 2021
9 am-5 pm PDT (Los Angeles)
11 am-7 pm CDT (Mexico City)
12 pm-8 pm EDT (New York)

Voces nahuas sobre la conquista de México: "De cómo los españoles conquistaron a la ciudad de México", Libro 12, Códice Florentino

Viernes, 13 de agosto, 2021
9 am-5 pm PDT (Los Ángeles)
11 am-7 pm CDT (CDMX)
12 pm-8 pm EDT (Nueva York)

Quintlapohuilizqueh ica in nahuatl quenin opanoc cuac ohuallahqueh occiquin tocnihuan otechtlalquixtilicoh nican Mexihco: “Quenin españoles otechtlahuelquixtilicoh in totlalhuan nican Mexihco altipetl”, quipohuah itich in huhueamoxtli 12 tlen Codice Florentino

Huei ilhuitl, 13 tonatiuh, metztli agosto, xihuitl 2021
9 am-5 pm PDT (Los Ángeles)
11 am-7 pm CDT (Huei altepetl Mexico)
12 pm-8 pm EDT (Nueva York)

This panel will present the Florentine Codex Initiative at the Getty Research Institute. With the goal of increasing global access to the Florentine Codex (c. 1580), the Initiative will provide full digital access to the folios of the illuminated manuscript as well as transcriptions and translations of its texts. The Indigenous-focused, language-centered design of the website component of the project, titled the Digital Florentine Codex, will include a dynamic interface allowing users to seamlessly view folios alongside transcriptions and translations with fully searchable data including keyword tagged images. In order to achieve this, members of the team are dedicated to composing 4,000 multilingual entries in English, Spanish, classical Nahuatl, and modern Nahuatl de la Huasteca for the Getty vocabularies drawn from the codex’s encyclopedic visual and linguistic content. Other members of the team are providing new translations of the Spanish text into English, and for Book 12, a translation of the Nahuatl text into Spanish alongside recordings of the Nahuatl-language original read by a native-speaker. In addition to the website, the Initiative will produce a scholarly digital publication on Book 12 accompanied by educational programming and lesson plans for K-12 educators and their students. The presenters will report on the current state of the initiative, related research, and outreach efforts.

This workshop will present the Florentine Codex Initiative at the Getty Research Institute and examine specific work issues related to it. With the goal of increasing global access to the Florentine Codex, the Initiative will provide full digital access to the folios of the illuminated manuscript as well as transcriptions and translations of its texts. The indigenous-focused, language-centered design of the website component of the project, titled the Digital Florentine Codex, will include a dynamic interface allowing users to seamlessly view folios alongside transcriptions and translations in with fully searchable data including keyword tagged images. In order to achieve this, three members of the team are dedicated to composing 4,000 trilingual (English, Spanish, Nahuatl) entries to the Getty vocabularies drawn from the codex’s encyclopedic visual and linguistic content. In addition to the website, the Initiative will produce a scholarly digital publication on Book 12 accompanied by educational programming and lesson plans for K-12 educators and their students. The presenters will report on the current state of the initiative, explore some of the challenges the Getty team has encountered and seek feedback on best practices and research utility of the initiative’s outcomes from the attendees.
Presenters: Rebecca Dufendach, Kim Richter, Alanna Radlo-Dzur, Bérénice Gaillemin, Josh Fitzgerald