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.
This document includes an article in which José Clemente Orozco vents his negative opinion regarding symposia. He remarks that instead of wasting money on the artificial and pedantic speeches regarding the relationship between art and the academy, even though widely published by the press, Orozco very much doubts the sincerity of their artistic creeds. He defends the technique of the fresco because it is clean and well thought out. He also praises any sculpture that does not use any subterfuge: such as clay or plaster, thus emphasizing direct carving.
To make José Clemente Orozco (1883-1949) write for a book commemorating his œuvre at Dartmouth College, was something beyond impossible. Therefore, in order to put together the brochure that includes the essays by Churchill Lathrop, Stacy May, Artemas Packard, Kimball Flaccus, William Gaston Raoul, and Gobin Stair. The editor, Flaccus, reproduces what Gardner Hale had written on the basis of Orozco’s words. It is for this reason that the text is presented in quotes and is signed by the artist. According to him, it is necessary to return to what is classic: in other words, the painter should return to the wall and the sculptor to carving the natural material. It must be noted, however, that on many of his murals, Orozco works on panels mounted on the wall.