Word: pineda
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Dates: during 1970-1979
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Women artists are acutely aware of the cultural biases that act to impede their careers. Marianna Pineda, a sculptor participating in the gallery's current show and an Institute Fellow from 1962 to 1964, is an established local artist by any standard. She has had three one-woman shows, and the Boston Museum of Fine Arts owns two of her pieces. Despite her success she still feels artistic institutions discriminate against women. "Art schools are filled with women," she said, "but most of the instructors are men. Women are taught that art is a lady-like pastime...
Most of the women in the Radcliffe Institute show are married and have children, though they have felt the same tensions Portnow describes. Pineda gave up sculpting for two-and-a-half years after one of her children was born. She decided that leaving her work was a great mistake. Several years later, after another child was born, she got a grant from the Institute that helped pay for child care and studio supplies, allowing her to continue her work part-time. "My work is important," she said, "but human relationships must always come first...
Another scene finds its source in an unsympathetic rendition by the Mexican historian, Vicente Pineda, of a crucifixion by Cuscat and his followers of one of their own people. But in the context of the novel, the crucifixion of Pedro's brother, Salvador, who is already a very sick man, seems a natural act of piety. And though afterwards Cuscat realizes that to the Dominicans his people dancing in frantic circles are only blasphemous drunken Indians, to him, their leader, they are "drowning people going toward a core which doesn't even have a name, certainly it is not called...