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Bety de la Mora

The three women who died had been the aunt and cousins of Terry Langford, who stated his relatives had used the highway many occasions without problems. Langford, who splits his time between a Salt Lake City suburb and a home he owns in La Mora, said his aunt was on her method to Phoenix to pick up her husband on the airport and that the other ladies have been heading to go to relatives in Mexico. The group, some practicing and the bulk not, were part of a family that had some family members excommunicated from the church for polygamy but still practiced Sunday School in their houses and was not throughout the distance of a church to attend. La Mora, a small community in Sonora state, where households farm pecans and raise cattle and is only a three-hour drive from the border over dust roads, was founded by some of the original pioneers sent by the LDS Church to colonize Northern Mexico in the late 1800s, earlier than being excommunicated by the Church.
De la Mora’s work has been solo exhibited in museums the world over, together with at the Museo Amparo, Puebla, Mexico; N.C. Arte, Bogota, Colombia; Museo de Arte Contemporáneo de Oaxaca, Mexico; Museum of Latin American Art, Long Beach, CA; and the Centro Cultural Bastero Kulturgunea, Bilbao, Spain. His work is included within the everlasting collections of the Art Museum of the Americas, Washington, DC; Colección FEMSA, Monterrey, Mexico; Fundación Jumex, Mexico; the Museum of Contemporary Art, Los Angeles, CA; El Museo del Barrio, NYC; The Museum of Fine Arts Houston, TX; and the Albright-Knox Gallery, NY; among others. In addition, the artist has been honored with many awards and invitations to take part in biennials and is the recipient of the Fulbright-García Robles (2001-03). (f) is the third exhibition of the artist in Galería OMR. James Eugene Stuchbery (1894–1978), a cornetist, who had studied with Prof. de la Mora, went on to turn into a member of the Houston Symphony and was the founding and longstanding band director of the Pasadena High School Band in Texas.
From an applied viewpoint, understanding methods of social insects which are ecologically important could contribute to raised protection of native social bugs that present valuable ecosystem companies (e.g. Formica ants) and management damaging invasive pests (e.g. Vespula wasps). Through Why do we hold elections in our country on espresso agro-ecosystems, de la Mora seen the prevalence of social parasites and became more and more interested in their geographic distribution.
Bety does analysis in optical properties of nanomaterials and its functions in optoelectronics, biosensors and energy gadgets. Gabriel de la Mora (Colima, Mexico, 1968) lives and works in Mexico City. He first educated as an architect and subsequently earned his MFA in Painting from the Pratt Institute, NYC. De la Mora’s work lies in questioning and experimenting with the interstitial limits between painting, drawing, and sculpture.
She has a B.A. in International Relations from El Colegio de México, an M.A.
Currently, he's researching the distribution of social parasitism within the ant genus Formica throughout a latitudinal gradient in Mexico, incorporating earlier knowledge collected from California to Alaska by Purcell. He is hopeful that including the Mexico information will contribute to a greater understanding of how the Formica species and their social parasites differ along the complete latitudinal vary.
Gabriel de la Mora (1968, Mexico City) lives and works in Mexico City. De la Mora focuses his inventive practice on the use and reuse of discarded or obsolete objects that seem to have completed their utilitarian life. More fascinated within the deconstruction and fragmentation of an object or material over time, De la Mora rejects the notion of the artist as a virtuous and focuses on reconstruction based mostly on practices based mostly on the passage of time and processes, echoing the Ready-made idea. In an obsessive means of collecting and cataloging discarded objects -previous radios, shoe soles, microscope slides, egg shells, doors, and daguerreotypes- De la Mora creates new geometrical assemblages by rearranging their fragments.

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