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.
Carlos Mérida quotes José Clemente Orozco at length in this article. Orozco had been invited to paint a fresco to accompany the show 20 Siglos de Arte Mexicano [20 Centuries of Mexican Art], presented at the Museum of Modern Art in New York in 1940. Orozco’s commentaries deal with the public’s need to become aware of the meaning and themes of pictorial art, just as if it were an opera for which they could expect an introductory libretto. The article also makes reference to a few techniques, while at the same explaining the mural that Orozco painted for the event. Mérida concludes the article by stating that this work adds nothing to Orozco’s fame.
Mérida refers to the mural Dive Bomber [Bombardero en picada]. The statements he quotes by Orozco are part of an ironic explanation by the latter regarding the meaning of his mural. Mérida entitles it “Orozco Explains.” The text was published in the Boletín del Museo de Arte Moderno, Vol. 7, no. 4, August 1940: 2-11.Carlos Mérida (1891-1984) began his career as an art critic soon after arriving in Mexico City in 1920. The Guatemalan painter wrote more than 200 articles published in journals such as El Universal Ilustrado, Nuestra Ciudad, Boletines de Carta Blanca, among others. He wrote on diverse topics, but primarily on design, photography, dance, folk art, painting and sculpture, both of Mexican and international origin.