The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
In this letter, David Alfaro Siqueiros tells Blanca Luz Brum that the Troubadour—the ship on which he sailed from Buenos Aires in December 1933—had arrived in Port of Spain, Trinidad and Tobago. Siqueiros talks about the book he wrote on the trip and other things concerning his forthcoming visit to New York. While the letter does contain some intimate, personal details, it is of interest because it outlines some of the artist’s plans for the immediate future. He tells Brum that he has been working on a book about Los vehículos de la Poligrafía Revolucionaria, and says that the time he spent in the Río de la Plata region was beneficial because of the perspective it gave him about his previous work and, especially, his work in Los Angeles, California. He tells Brum that he has found possible publishers for his book in Brazil and Argentina, and asks her to look for one in Montevideo. When Siqueiros left Buenos Aires in late December 1933, Blanca Luz Brum remained there, and spent the next few months going back and forth to Montevideo. She was probably still in Buenos Aires, or perhaps already in Montevideo when she received this letter.
This letter makes it clear that David Alfaro Siqueiros (1896–1974) is in a hurry to publish his next book. He can see that the world situation is changing rapidly and that his ideas about revolutionary art might soon be irrelevant. He wants to combine political ideology and graphic aesthetics in a style that is compatible with the time and that gets painters to work together in teams as a way to overcome the frustrations that revolutionary art has being experiencing recently. In this letter, Siqueiros is undoubtedly thinking of the vicissitudes of Mexican muralism. As he says to Blanca Luz, “we must create the professional revolutionary intellectual.”